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This week's challenge is to create a new look for an American style icon. The icon? My Scene Barbie. You're not going to believe what a bitch she was, either. The designers are really starting to show their quirks -- Kara becomes obsessed with retrieving a Barbie hat from a Toys 'R Us escalator shaft, Lupe and Kara face off as disgruntled roomies, and Tim Gunn gives Andrae a talking-to in regards to his crying jag during last week's challenge.
There is a surprisingly large number of good designs this week. On the runway, Andrae mouths off to Nina. Surprisingly, that doesn't spell the end for him. Nick, in a coup for gay uncles everywhere, wins the challenge. Marla, who is popularly considered the least talented among the designers, makes it to the challenge by the skin of her teeth. It's "Young Balls" Raymundo, with his hausfrau Barbie outfit, who is sent home. Want more? The full recap starts right below!
Previously: The designers were challenged to create a design using the clothes that they were wearing. Zulema interpreted the challenge as "createhalfof a design with the clothes you are wearing," therefore leaving her model's behind exposed to the harsh elements of the runway. Andrae tried to distract the judges from the incompletion of his design by blubbering like a fool. A fool! Chloe won the challenge, much to Santino's rather childish chagrin. Kirsten's design, both bawdy and bourgeois, got her eliminated. A lucky thirteen designers remain!
It's morning at the Atlas apartments. Diana knocks on Chloe's door to let her know that they have thirty minutes to get ready. We see Chloe lying in bed on top of the covers, and there is this lecherously lingering camera pan down her body. Naughty cameraperson. She's cute, though. Chloe interviews that she is really glad she won last week's challenge. She says she'll miss Kirsten in a tone, that suggests that there will be a giant "but not really." We see a shot of a chalkboard in the kitchen of the apartment. Kirsten has written the following: "Bye Girls! Thanks for all your kindness. Best, Kirsten." Also, she has drawn three figures representing her, Diana, and Chloe. Kirsten's figure is a full head taller than the other two. The "but not really" comes in the form of, "But, you know, I don't think she was the most talented out of all of them [sic]. I mean, based on who has been eliminated so far, I just think it has been correct." That's delivered dry as a bone, by the way. She's not being a bitch. On purpose.
In the other girl apartment, we see an odd scene unfold. Kara, freshly showered and toweled, says to Lupe, "I think we have to change rooms around." To which, Lupe replies, "You just have a lot of nervous tension. And, it's like it's it's it's it's exuding out and I don't think you are handling things in a way that was [sic] appropriate." Kara's response: "It's your nervous tension that you're projecting onto me. I'm so sorry to say." "I have!?" exclaims Lupe. "I've been a nervous wreck!? Oh goodness. You can see it however you like, girl." That's a straight freaking transcript, people. I have no idea what just happened. I'm not sure who was confronting whom. Also, what was the subject of the confrontation? Was there a product of all of the "nervous tension" discussed that we didn't get to see? From what we have seen so far, we know that Kara can get flustered and Lupe is just a little bit buggy. Here, though, it's hard to know who, if either of them, is right. For some reason, even though Lupe seriously freaks me out and I don't even know why (hint: she may have said "it's" two or three more times than I wrote earlier when she was arguing with Kara. It was truly so fast that I couldn't count them), it seems like Kara was trying to put a bitch freeze on her. I don't like that kind of passive-aggressive arguing -- someone is angry but adopts this cool exterior to try to make the other person in the argument (who may be acting honestly heated) feel crazy or irrational. Granted, I don't think I've seen the entire argument, but it's only adding fuel to whatever fire is burning for Kara to be all, "I'm sorry to say." Anyway, Lupe interviews that Kara is always nervous and prone to "elaborate blow-outs," and she doesn't respect people (read: Kara) who "try to disturb other people."
In the boys' apartment, alternately known as the Boyz Room, Santino reads from the list on their chalkboard. Number one: Do NOT cry on national TV for all to see. (He doesn't read it, but number two is "Goodbye Kirsten!") Santino says, "Who wants to bet a beer that he cries again." Andrae just kind of grins and looks at Santino. It's fairly good-natured ribbing. As we see a replay of Andrae crying, he interviews that he has been teased about his breakdown, and he feels that's fair. He agrees that crying on the runway is not an attractive way to react to criticism. "I don't like to think of myself as weak." As this interview is being heard, we see Andrae spreading moisturizer all over his shaved head, which, oddly, seems like the interpretive dance of what he is saying. Right now, I'm feeling that Andrae must lack self-awareness. I'm not sure he realizes what a horse's ass he made of himself. You didn't have the sniffles, Andrae. You were M'Lynn in Steel Magnolias.
Chloe says that "My Scene Barbie is all about being seen. That's why it's called My Scene Barbie, because it's all about her." A many-curved street of logic she has taken there, but I think I get it. Still, there's not really a point. The designers are given thirty minutes to sketch their design, after which they will go shopping for materials. He also informs them that they will have two days to complete the design.
Nick interviews that he played with his sister's Barbie dolls and probably "put the outfits together better than [his] sister." He says that he wants to make sure that his doll will "pop out in the box." Emmett tells Chloe that his Barbie will be "Miss Western." He interviews that he wanted his design to be colorful, feminine, and frivolous.
Raymundo interviews that he doesn't like the current trend of dolls being "overly made up." The little girl "in [his] head" wants to look like her mother. So, he's going to make a Barbie that looks like a mom, yet trendy. Now, I understand his logic and I probably agree. But he isn't thinking about his audience. That's not how girls play with dolls anymore. The Barbie rep explained that My Scene Barbie is about girls who want to be teenagers, not moms. On another note, it seems a little sad to me that kids aren't as interested in emulating their parents as they used to be. Of course, then they might have Botoxed Barbie or Alimony Barbie or Haven't Seen My Kids in Three Weeks Because I've Been Working On the Anderson Account Barbie or Where's Mommy's Pills? Barbie. You get the picture.
Oh my God, Kara is still trying to retrieve her Barbie hat. She gets it, finally, but her sketching time is seriously shortened by her hat-retrieving efforts.
Tim takes them to the fabric store. They each have $150 for supplies. Nick grabs a really bright pattern, or "psychedelic," as he sees it. Tim asks Andrae if he feels "disabled" by the challenge, because Andrae seems like he's in a daze. He says in an interview, "Not only do I have to pull this thing together in forty-five minutes, I also have to assess what's there." I don't understand what he's saying. Assess what's in the fabric store? I'll give you a hint: fabric store. Think hard. You'll get it. Kara is the last one to finish, and Tim's getting a little impatient.
At the workroom, they get started. Lots of cutting. Nick interviews that his My Scene Barbie muse gives him a "Telemundo/Copa Cabana" vibe. He explains his design and seems really confident with it.
Chloe says that she is going to make her design pink, because every girl likes pink. Broad generalization, but…sure, why not.
Diana interviews that her design will sport a large hood that can be worn down as a collar. The fabric is a heavy red, with holes outlined in black all over it. It's really cool. Emmett remarks to Diana that he thinks it is beautiful fabric. He says, "You're doing Barbie couture, for sure."
Santino's design will be a mixture of knit and woven fabrics, which provide the twin qualities of "fit and flare." He also notes that he wants to be the best. If he is anything less, he feels like he has failed. That may be a bit of an explanation for why he wasn't generous or congratulatory to Chloe when she won the last challenge. His victory in the semifinals may have set him up for a lot of disappointment. I wonder if he would have been so upset had he not won that challenge.
Daniel Franco is explaining his design to Diana, and she urges, "Simplify! Simplify!" That is wisdom, Franco. I hope you're listening. We see Nick helping Marla, and Chloe says from across the room, "It won't be pretty there, Marla. It just shows that you're not good at draping." As harsh as that sounds, Marla smiles and says, "I'm not good at draping." They must have been joking about that before. Otherwise, ouch. Marla interviews that she is self-taught. Geography (Pennsylvania) and motherhood (twenty-six-year-old son) kept her from seeking formal training. She's feeling a little insecure about her talents. In an interview, Chloe just goes with the whole bitchy thing and says, "In this group, it's all about having talent or skill. You know, you really shouldn't be here if you don't know how to put a garment together." I understand that it may be annoying to have someone ask for assistance when you're trying to do your own work, but really, Chloe, just fuck you a little. Marla's a nice lady who's trying to get ahead. If you're so damn talented, don't worry about her. My imagination? Or is Chloe getting a little too big for the self-made Chloe britches?
Of course, , Chloe is helping Marla but she's being really scolding as she does. It's unnecessary. I'm already seeing the reunion show where everyone has to apologize to poor Marla for being assholes. Andrae says that Marla has a deficit of experience, but points out that she has been a pretty successful woman and is simply pursuing a "more creative bend." So, give her a break, everyone. Chloe continues with, "If she can't handle this challenge technically, there's no way she can handle the challenge." Actually, Ms. Dao, I believe there was unanimous answer to a question during the reunion show last year. The question? Which challenge was the hardest? The answer? The FIRST CHALLENGE. So, really, what are you talking about anyway? You don't even know what the challenge will be! Maybe it will be to create the perfect design for a fifty-one-year-old mother. I think Marla would be perfect for that. Or maybe it will be to create a design without draping. One cool thing is that Marla seems to be soaking up a lot of what she is getting advice-wise from the other designers. It would be great to see someone go home knowing more about what they're doing than when they got there.
Tim comes in before they are done for the day. He talks to Raymundo about his design. Raymundo's design includes a jacket, and Tim seems stunned when he is shown the fabric that Raymundo will be using for said jacket. It has kind of a burlap aspect. Tim remarks that there seems to be "an awful lot happening." Tim says, "It's more about the jacket, I think, for me this time." And Raymundo asks what I'm wondering, "The jacket, meaning what?" Really, though, Tim is so measured in his comments that I didn't know if he liked it or not. "I'm ambivalent about that fabric." Raymundo interviews that he took the My Scene Barbie characteristics and filtered it through his perspective. He pushes the whole "little girls should look like little girls" song and dance. In theory, I agree with him, but it seems like he's just being defensive. I've noticed that when people start talking a lot about their vision or "who I am," they're really saying, "I'm not listening to your criticism."
Chloe tells Tim that her design will look really cute when she's done. Marla shows Tim her design and he diplomatically and encouragingly replies, "All of this speaks to incredible potential. You're not there yet." Tim leaves, and it's scurry scurry techno music. Everyone is trying to make the most of the time remaining in the workday. Marla is having more trouble. Someone even has to show her how to use the iron. She interviews that she is nervous about losing the challenge. She thinks she has talent, so she'll be disappointed if she has to go home.
The day, at the workroom, Tim presents Lily from Mattel, who tells the designers that they will also need to make a doll-sized replica of their design. Also, the winning design will be produced as a limited edition My Scene Barbie with the winning designer's name and picture on the box. Raymundo interviews that winning would be like going from "step one, and then you go to like, step three hundred." Has designing for Barbie really been that much of a step-skipper for people? Back to work.
Marla is still having a hard time. She says that creating a doll-sized dress is taking time away from work on her other dress. In the sewing room, Santino says, "Marla, you know, she wears a big, shiny, tacky badge of, uh, of being self-taught. You've got your small, limited bag of tricks. Work it out, girl, you know?" Where is this nastiness coming from? I guess she must be asking everyone for a lot of help, because I can't understand why her lack of technical expertise would make them all so angry. He just called her tacky. That's rude. Some would say, Santino, that your insistence on long hair when your hairline is rapidly receding would be tacky. Work that out. Then Marla enters the sewing room to silence. She starts working and has some problems. Andrae helps her a little bit, but eventually the thread comes "undone." Not exactly sure what the problem is, but Marla says, "I'm not changing the thread," and leaves the sewing room.
Daniel Franco is in the workroom. He says something about having to look at his design from a few steps back, and likens it to viewing something at a museum. Chloe interviews that this is called the "Daniel Franco Shuffle." Daniel Vosovic, who it seems has mostly been ignored, finds Daniel's dancing "a little too much." Chloe, however, remarks that "it works for him," though "it wastes a lot of time."
With three hours remaining in the workday, Tim arrives. He tells Nick that his design is looking good. Tim tells Raymundo that he is worried that his design is "too grown-up." He tells Kara that her design is "really cute." She plans on adding trim just like she used for her semi-finals design and Tim replies, "No, it looks like happy hands at home." Thank you, Tim. It totally looks like happy hands at home. I'm going to remember that one. The skirt for Andrae's design is an orange bubble. Tim reacts with surprise. Andrae explains that he is trying to create the look of a vintage dress that has been ripped up and personalized by Barbie. I guess Barbie was vintage shopping at the antebellum store. The skirt is massive. Tim says that he is trying to anticipate the "runway dialogue," to which Andrae responds with a giggle, "Yes, of course." This reminds Tim of something, so he asks if he can speak to Andrae alone.
Now, it's probably a good time to mention that Andrae is wearing short-shorts. Tim tells Andrae that he is concerned about Andrae's outburst at the runway show. Tim says that he felt like Andrae was "fueling" his emotions and that it was contrived. I feel that Tim is exactly right. That was why it was so gross. Andrae hears something different and says, "I was extremely emotional, but I don't want to ever appear vulnerable." What about contrived? Do you want to look contrived? Tim sees that Andrae is not really getting it, and adds that Andrae should use the time talking with the judges to show his talent and intelligence (translation: show them you're a capable grown-up). Andrae infuriates with, "I'm basically not afraid of my emotions. I allow them to occur, I guess, as they come to me." This guy is not getting it. He adds that he likes his designs and is ready for whatever the judges "throw" at him. Tim leaves, and it's scurry techno. I do like how this year's designers seem to counsel each other a lot about their designs. I like that atmosphere.
That night, at the Boyz Room, Santino is discussing what he imagines tomorrow's results will be. He thinks that Daniel Franco has too much to finish and will be in the bottom three. He also mentions that he likes his own design better than Emmett's. I'm guessing that's who he considers his greatest competition in this challenge. "Marla's hurting," he adds. Nick says, "She's got some whickety-whack trim on it." Poor Marla. Then, he does a little runway walk, showing off Marla's whickety-whack, as Santino and Daniel V. laugh. Those guys are being mean.
The day, Lupe remarks that the workroom and sewing room are going to be crazy that morning. As she's getting ready, Marla says that she's nervous because she feels she could have done more to he outfit. She really sounds a lot like Catherine Keener. I almost think she looks like her a little too. At the Parsons workroom, as Tim addresses the designers, the camera is focusing on Raymundo, but you see Emmett behind him, clearly applying powder from a compact. Dear God. Tim informs them that they have two hours before the runway show, meaning two hours to fit the models and have their hair and make-up done. Also, he tells them that in the hair room are thirteen long, blonde Barbie wigs. "You don't have to do it, but I want to encourage you to do it." Tim leaves, and mayhem ensues. Daniel Franco tells his model that he needs her to go to the hair and make-up rooms by herself because he is pressed for time. As Marla is scurrying, Santino interviews across the room that Marla is struggling and he's surprised that she has made it this far. EVERYBODY LAY OFF THE OLD LADY. It's getting ridiculous. For instance, Marla is fitting her model with these weird sleeve things and says, "Would you wear something like this. No," and just rips it off of the girl. She knows she's in trouble, guys. Leave her alone.
Daniel Franco starts to freak out because he realizes that he used elastic thread on his dress, and his model tries to calm him by saying, "You have still an hour and eight minutes." Then she giggles. I think I like her. , Daniel has his dress spread out on the floor. Tim enters and says, "You're almost completely on the ground. What are you doing?" Daniel explains that he used elastic thread in the hem of his dress, so he is cutting it off. I'm not sure, but I wonder if we're supposed to think that Marla is the person who left elastic thread in the bobbin. I don't know. More scurrying. Andrae says that he is not going to use the wig, because his model (who is not Caucasian) would never have blonde hair. Oh please, he's just creating drama. Check it, Andrae: Mary J. Blige would never have blonde hair growing out of her head, but I say Mary J. Blige can do whatever the hell she wants. Daniel Franco has to sew his model into his design. Tim has to stop him. Commercials.
Heidi greets the designers. She introduces the judges. They are Michael Kors, Nina Garcia, and Lily from Mattel. All of the designers are holding their Barbie dolls dressed in their own designs. The show begins.
First is Santino's design. It's beautiful. It's a blend of pink and lavender fabrics; fitted bodice; super-short, layered skirt. He interviews that he wanted to create something that looked like a confection -- hip, cute, frilly, and girly. I can't imagine a pre-teen wearing this. Well, maybe like Jodie Foster in Taxi Driver, but, though I liked her sunglasses, I don't think that's a proper role model for children.
we have Lupe's design. It's a knee-length olive green dress. It's strapless, with a bodice with lots of seam work along it. There's a red-based multi-colored fringe at the bottom of the skirt. A tan shawl is tied onto the model like a shrug. On the model's right arm is a handless full-length green glove. There's a pink rose at the middle of the neckline. It's not as pretty as Santino's, but I feel like this dress is more appropriate for the challenge. I could see some gawky thirteen-year-old wearing this to a late summer wedding. Or, at least, some gawky thirteen-year-old on a Disney Channel show. Lupe interviews that she feels confident that she fulfilled the requirements of the challenge.
Chloe is up . Hers is a high-waisted pink gown that ends far above the knee in the front and trails to mid-calf in the back. The waist ends in a red ribbon right under the model's bosom, and the same ribbon makes up the straps to the dress. There are ribbons have a shimmering effect. Chloe interviews that she likes her design.
is Nick's design. It is really cute. I totally see his Telemundo influence. The skirt is three-tiered and cut thigh-high in the front and falls to the floor in the back. The skirt fabric is the "psychedelic" fabric he found earlier. The top is a matching green. In fact, I think it may be the only color that could match that crazy print. It begins above the waist in a pleated, horizontal swath of fabric. At the model's bosom, the pleats start shooting vertically, then narrow into two straps at the shoulder. The straps trail down her back and meet the horizontal band of the top. On her head, the model is wearing a scarf made of the skirt fabric. Nick interviews again that he thought about how the dress would look in the box. It has to grab a girl's attention.
Daniel Vosovic's design follows. It is a short purple dress, with a belt that falls low on her waist. The model is also wearing a short vest made of orange, yellow, and green. She has a cloth purse strapped across her chest and she's wearing an Uggs/moccasin combo. It looks like he was trying to create a Native American look. While I'm not judging the design's authenticity, I feel like you might see that on a Barbie. Daniel interviews that he's not sure if the judges are ready for the sophistication that he is thrusting upon them. I don't think he needs to worry about that.
Here we have Zulema's design. It's a really pretty dress. The fabric is a shimmering silver/white concoction. Sort of like lamé. It's a fairly simple silhouette -- tight skirt that stops at the knee, camisole-like top. The top has a lot of intricate seam work. Rachael, her model, is carrying a tiny Barbie purse down the runway. It's a pretty funny effect.
Marla is told by Heidi that her color was off and the design wasn't young enough. Heidi tells Raymundo that his design looked like it was designed for My Scene Barbie's mother. Marla is "in." I'd just like to say that I think the runway dialogue was what was the deciding factor here. Raymundo tried to preemptively defend his design's matronly qualities by saying she was surfer-inspired. That made it seem more lacking, since there just wasn't anything surfer about it. Marla, at the very least, made a reasonable argument about a girl trying to look older than she was. The design still isn't pretty, but it does look older, right? She hugs Raymundo and leaves the stage. He auf-wiedersehens Heidi and says goodbye to Nina and Michael. He interviews that he took a risk and he's leaving with his integrity. I'm not sure I really understand what he means. He's a little verklemt, though, so it could just be the emotion talking. He reminds us that he has "balls of steel." Carry on, Young Balls or Steel Balls.