In a hurry? Read the recaplet for a nutshell description! Finished? Click here to close. The 15 finalists file into the Atlas apartments. They meet Real World-style, with equal parts posing and sniffing. Tim and Heidi summon the designers to the rooftop, where they have a champagne toast. Then she tells them their first challenge: they must make an evening garment from items in their apartment. Anything goes. Bradley Baumkirchner even tries to grab a pillowcase that is the personal possession of another designer. Menswear designer Keith Michael of the Two First Or Last Names makes his first dress ever, and wins the challenge. Stacey Estrella, with her see-through nightgown-y dress, barely loses to Jeffrey Sebelia and seriously ill Vincent Libretti. (No offense, but I think the guy is cracked.) Want more? The full recap starts right below!
The Road to the Runway having ended here at the Atlas apartment building, we begin the first actual episode of Season 3. Malan Breton is dressed in a suit and tie and is carrying a single garment bag up the street. He interviews that he was born in Taiwan. My second grade teacher had been a missionary to Taiwan and, when all of the kids came back from the holiday break, she stood at the doorway and bowed to each of us and said, "Gong-shi, gong-shi. Congratulations, the dragon didn't get you." I'll have to base my future judgments of Malan's pathology on the fact that they tell young children there that a dragon might eat them every New Year's Day. He interviews that he is inspired by old Hollywood and we see that he is thirty-two years old. "Raw talent" is what he believes sets him apart from the other designers. Then he laughs like a total dork. Maybe he has a sense of humor? That would be nice.
He is the first to enter the guys' apartment and declares that it is bad feng shui to have fake flowers in your house. Or just ugly. Michael Knight is the to arrive. He interviews that he is twenty-eight and from Hotlanta. He mentions that the burgeoning music industry in Atlanta has provided him with an entrée to fashion. He wants Project Runway to make him a "big mother (bleeping) fashion star." I can't imagine that he won't be the most famous designer in Atlanta by the time he goes back. Michael asks Malan where he's from and says, "You sound so distinguished," while taking his impersonation of an English accent for a spin. I bet we're gonna have a lot of that.
come Robert Best and Bradley Baumkirchner. We see that Bradley is thirty-one and from Los Angeles. Robert is thirty-six and from Hollywood.
The first lady is Laura Bennett. She's carrying a set of old-school Louis Vuitton luggage cases. I know it's conspicuous consumption and it's pretty stupid to have expensive luggage (as it's sort of a red flag for "Hey! Steal me! I'm expensive and the stuff inside of me is even more so!"); but...I really love those cases. I'd live out of a steamer trunk if I had one. Even in my own apartment. We see that she is forty-two and from New York. She interviews that she is an architect, but her "passion is in fashion." She laughs at the last part, because it rhymes. She says she never dresses down. "When you are forty-two years old and you have five children, it's a slippery slope into sweatpants and a minivan. So I just don't go there."
Angela Keslar joins Laura in the girls' apartment. She's thirty-three and lives in Amesville, Ohio. She says she lives "on a farm in the middle of quote/unquote nowhere." I wonder whom she's quoting. Maybe our old friend, Fact. She's looking for the visibility that Project Runway will provide. Laura asks her what people do in Ohio. Ah, city folk. Angela just laughs.
Stacey Estrella, who is forty and from San Francisco, enters . Lucky for the camera people that these guys all arrive in such quick succession.
Back at the boys' room, Kayne of Many Colors is trying to unlock the door, while a hooded Jeffrey Sebelia looks on. "How many fashion designers does it take to open a door?" he asks as he struggles. He interviews that his name is Jonathan Kayne Gillaspie, he's twenty-seven, and from Norman, Oklahoma. We review the part of his bio video where he does his Mommie Dearest impression. He says that he wants to show that you can come from different parts of the world and still "make it" in the fashion world.
When they finally make it into the apartment, Jeffrey starts jumping on a bed. Still hooded. He interviews, while hooded, that he is thirty-six and from Los Angeles. He has a clothing line named Cosa Nostra. He says, "By my standards, I've had a lot of success in the industry. But, I still haven't reached the goal of success that I want to reach." I guess it's a little frustrating to come on here and feel like everyone thinks you're some sort of beginner.
Vincent Libretti enters . We see that he's forty-nine and from Santa Monica. Jeffrey introduces himself and shakes his hand with a "wacky hand buzzer." Probably reminds Vincent of his stay at the State Hospital in 1991. He laughs at the joke, though.
Here comes Keith Michael. He's really cute and stylish. He interviews that he does menswear and has always wanted to get into women's wear. He's thirty-four and from New York. He says that he doesn't expect to win every challenge, but he DOES expect to win in the end. OK, gotta respect a man with a plan.
Alison Kelly arrives at the girls' apartment. She's twenty-five and from New York. She says that she has created her own label that is available in stores. We see shots from the badass photo series that she styled and designed and showed on her bio video. She's adorable, this Alison Kelly character.
Ulrike Herzner enters 34G , but we can call her Uli. She is thirty-five and was raised in Germany. Now, she lives in Miami Beach.
We see Robert tell Michael and Angela that he worked for Isaac Mizrahi and found it to be one of the best and worst experiences of his life. Angela wants to know details. You and me both, Angela. Robert interviews that working with Isaac taught him patience. "'Cause at times, I would want to drive a stake through that man's heart," he finishes with clenched teeth. That's really not a surprise, is it? Watch any single episode of his show and you'll see one person with whom he is dealing that shows a flash of the same impulse. Robert tells us that he has been designing for Barbie Doll for eleven years. "With Barbie, you can put her in insane drag-queen clothes. And she thinks they're great. She loves them." I don't think I'm ever going to get tired of personifying Barbie with emotions. It makes me laugh.
Heidi asks Stacey whom of the designers she likes and she says that everyone is lovely. "I hope it stays that way." Stacey tells us that she went to Stanford, then to Harvard for her MBA. She started a couple of companies, including a dot-com, but decided to "get back to [her] passion, which was fashion." I hope she went to school on scholarship, because if I were her parent and paid the $17 million required for that education, and then she decided she wanted to be a fashion designer...well, she would at least have to mow my lawn or some shit.
Heidi has an announcement to make. She asks everyone if they like the apartments, and everyone responds in the affirmative. "Good, because for your first challenge, you must use materials found in your apartment." Screams! Tim says that anything in the apartment could be used as raw materials. Alison interviews that she was excited, because as a kid it would have been her dream to walk around her house and be allowed to cut up anything she found.
Heidi says that their designs should express who they are as designers. Tim explains that each designer will have a little black Project Runway kit in which will be scissors, pliers, and a laundry bag. "Use these tools to source your materials," says Tim Gunn. I love it when he uses verbs like "source." To avoid any argument, Heidi adds that the designer who touches an object first gets it.
Malan looks like he smells something bad. He interviews that he is "irritated" by the challenge, because he prefers "better quality fabrics" than bed sheets and interior fabrics. Hopefully, this whole experience will allow Malan to buy a television, at which point he would be able to tune into a little program called Project Runway. On that show, they make clothes out of all kinds of shit, including nature's fabric. At that point, bed sheets and interior fabrics will seem like a cakewalk. Bitch.
They have fifteen minutes to collect all of the materials they can. They all start running back downstairs, with Vincent taking his time. That makes me feel a little better about him, like he's watching his stress levels or something. Malan is unnerved by the rush and compares everyone to "cattle trying to get to a feeder."
We see Keith ripping down some curtains (which looks like it would be a hell of a lot of fun to do) and he interviews that he knew exactly what he wanted, because he "knew everything in that apartment." Photographic memory? Casing the joint? Not sure.
Kayne of Many Colors is cutting off the seat of a barstool. Laura says that she immediately went for "the fur and the sparkles." She grabs a white throw rug or something, and the sparkles are hanging from a mobile thing. She knew that she could "create fabulousness" if she had them.
With ten minutes remaining, we see Alison ripping some fabric. Angela rips off the leather upholstery on a chaise lounge while Stacey is ripping down some curtains. It really is thrilling to see them tearing this place apart. Stacey interviews that, aside from taking the materials she needed for her design, she took items that she thought other designers might want.
As Angela is stuffing stuff in her laundry bag, Laura says that she looks like she's coming from a yard sale. Bradley finds a pillow and takes the case. Robert says that it was actually the pillow that he brought from home. He interviews that he brings his own pillow with him places because he's "a big baby." I guess he got his pillowcase back. Malan is also irritated by the "inappropriate" behavior of all of the designers. Easily irritated, this Malan.
After the fifteen minutes is up, Robert looks around the decimated apartment and says, "I don't want to live here after this." Vincent interviews that he has no idea what he wants to make. Commercials. They can make that the cliffhanger for every break. Is Vincent going to lose his mind in the segment? Stay tuned.
When the designers finally get to the workroom, Robert notices that everyone is having to edit the items that they brought from the apartment, "because a hanging plant might not make it into your runway look for good reason."
Tim enters and holds his first "gather 'round" of the season. He welcomes them to Parsons. Malan's hair has volumized a little and he's starting to resemble Winona Ryder in Lucas. That's not pretty. Tim tells them that they will have until 1 AM to work on their looks. The clock above his head reads a little after 5 PM now. He wants them to be innovative and show who they are as designers. A model has been assigned to each of them and, at their workspaces, they have their model's measurements. Finally, he tells them that the winner of the challenge will have immunity for the challenge. This gets a silent "Yes" from Robert. And, with a "Good luck and make it work" from Tim, the designers start working.
"Let the drama begin!" laughs Angela. She interviews that she is nervous about the time constraints. She says she will be happy to just finish a garment. Kayne of Many Colors works mostly with silk charmeuse and silk chiffon, so a rubber doormat is a departure for him.
Keith reminds us that he's a menswear designer. Is this guy going to be another Emmett? Shut up about the menswear and make a fucking skirt. In fact, Keith has NEVER made a dress. But he thinks he has the best taste there and that his dress will be really hot.
Jeffrey interviews, while hooded, that he knows construction like the back of his hand. He's not worried about his design. His pincushion looks like a voodoo doll. He chuckles that he hasn't decided who it will be yet.
Bradley laughs at Katie because she is using a bedspread and there are feathers floating all around her. She says she's trying to take out the designers with allergies.
Stacey is having a problem at the sewing machines. She interviews that she has only been designing for three years and has never used industrial sewing machines. She asks Keith for some advice, and later we see him interviewing about how everyone should be able to use a sewing machine. With his eyes narrowed to small slits, he recalls Stacey saying that the machines weren't working, and he replies, "No, you just don't know how to use the machines." Bitchy, but I think I like it. Finally, Stacey decides to sew by hand. I mean, you'd think she would've dropped by a Sears or something between auditions and coming to the show to learn how to use a damn sewing machine. I realize it's not that easy, but they're using the same machines that have been used on the show every season.
With two hours remaining, Tim Gunn arrives. Vincent gets his attention first. He has made a dress with pockets that Tim deems cartoon-like. Vincent keeps saying that he digs it, while Jeffrey kind of looks on. Jeffrey, this time without his hood because he's serious, says that Vincent is obviously nuts. Vincent has a wicker basket thing that he thinks he will use as a hat. Tim doesnât think that the hat on its own will work, so Vincent puts a chain on it. It's a mess. Vincent's all giggling and saying, "It's working!"
Jeffrey shows Tim his stuff. He has made a jacket to go over a dress. He interviews that he wants to make stuff that's different and better than the designs of the other designers. Tim feels like his jacket is competing with the dress.
Laura is working on her design, which has a jacket with a huge fur collar. Malan compliments the jacket, saying it reminds him of Clara Bow. Laura interviews that she thinks her work is elegant, restrained, and glamorous. "It's very New York."
We see Robert recommend to Angela that she use a hot glue gun to finish her design and she looks at him incredulously. They don't do hot glue in Ohio. Stacey is still struggling.
Michael is making a dress from coffee maker filters and Kayne of Many Colors compliments it, saying, "It looks soft and like it smells like Febreze."
Tim enters and tells the designers that their models are about to arrive. They will have three hours to send them through the L'Oreal Make-up room and the Tresemme hair salon. And we're introduced to the Macy's accessory wall, which the designers are free to use.
The models enter with photos of their designers and go to their workstations. Alison's model says she would actually wear the design that Alison has made. Bonnie is having trouble keeping the boobs of her model covered. Stacey has to make a panty for her dress because it's too sheer.
Vincent is still working the basket hat. He puts it on his poor model with some huge sunglasses. Bonnie interviews that the model looked like she was "waiting to be beamed up to Mars." Uli interviews that she wanted to say something to him about the hat being utterly ridiculous, but "he was so proud of that hat." Uli's sweet. I don't know, y'all. Vincent is seriously crazy. I almost feel bad making jokes about him.
Hair. Make-up. Vincent's model seems really tolerant of his wackiness. Tim enters and tells everyone that it is time for the runway show. Commercials. Wait, did Bravo just have a poll where they ask us which of three designers should be auf'd? Are they telling us the bottom three before the runway show is even shown? I don't like that.
Heidi greets everyone on the runway. This year, the winner will receive a spread in Elle, a mentorship with INC (International Concepts Design), a year of representation from Designers Management Agency, a brand new 2007 Saturn Sky Roadster, and $100,000 to start their own line. So long, Banana Republic, huh? The judges are Michael Kors, Nina Garcia, and handbag queen Kate Spade. And the show begins.
The first design belongs to Laura Bennett. She used a fur rug and a chandelier. Her model's name is Katie. It looks good. The fur wraps around the collar like an old Hollywood wrap. There are also rings of fur at the sleeves. The fabric is lavender and the coat closes at the waist, just below the fur, with a bow. Glass from the chandelier is attached asymmetrically all over the bottom of the coat, including pieces that dangled below the hem. We hear a voice-over from Laura saying that the runway show was exciting and surreal.
is Bradley Baumkirchner's design. It's made from a mattress and a comforter. It's a short dress that hits just above the knee. It's not particularly pretty, but I'd say that it does say who Bradley is as a designer. It's very modern and looks to have some edgy dissonant touches. Kind of space suit-y. On top of the dress, he has made a jacket/shawl creation. One side covers her shoulder like a wrap, while the other side has a sleeve. I mean, I wouldn't buy it for my mom, but it's pretty innovative. Bradley interviews that he has never had a design of his walked down a runway. It was emotional experience for him and he thought he might cry. Just as we hear him say that, a feather from the comforter he used flies free from his dress.
Keith's dress is . He made it with a bed sheet and his model's name is Nazri. It's a simple halter dress. It looks lovely and really well made. There's lots of intricate layering and pleating and it fits Nazri like a dream. The sheet's deep blue color seems to be doing a lot of work for him. It's beautiful. And he certainly used that accessories wall, as Nazri's sporting about eighteen pounds of beads right now. Keith says that he thinks his dress was the prettiest and that all others were "costume-y." I feel like that's kind of a stupid thing to say when everyone had to make their designs out of towels and whatnot, but...he may have a point.
Up is Angela Keslar's design. It's a skirt and top made from a leather chaise cover, bed sheets, wall hangings, and flowers. Her model is Clarissa. You know, it's not bad for what it is. It's a leather skirt with a top that is cut down to the waist, where it's belted. The top wraps in the back. Clarissa is carrying a thicket of flowers. That's kind of ridiculous.
Kayne of Many Colors's model, Jia, walks . He used a floor mat, feathers, a vinyl stool, and a bed sheet for his design. It looks really well tailored. It's kind of a sweetheart neckline with straps in a halter. There are stripes of different fabric in the bodice. At the waist, the skirt begins and is tight over the hips. Then it kind of flares and ends right above the knee. In the back, there's more fabric which creates a sort of train. As well, there are unique ribbons of floor mat trailing in the back. He interviews that he changed the bottom of his design three or four times, but he's happy with what he finally sent down the runway.
Malan's model, Moon, is . She is wearing a garment made from rugs and ottoman fabric. It's interesting. It's a top and skirt. The top's collar is tailored somewhat like a Chanel suit and is belted. The fabric is really thick and...rug-like. The skirt is tea-length and fitted. Behind the knees are a couple of panels that give the skirt some volume. Malan interviews that he is nervous. He's afraid that "the art elements of the design might be misperceived." Then he says that he started shaking for the first time in, like, fifteen years. The man has never shaken once in his adult life. Good for him.
Following Malan's model is Bonnie Dominguez's design. It is worn by Toni and is made of a duvet cover and sheets. It's a strapless number with a really fitted waist and hip. There are several bands of different fabrics all along the bodice. The skirt is really full and red. It's pretty cool. Bonnie interviews that she was just hoping her model's boobs wouldn't fall out of the gown, which was a possibility.
we have Katie Gerdes's design. It was made from a comforter and plastic bags. Her model's name is Candace. You can see some of Katie's snowboarding influences; the gray floor-length jacket, though sleeveless, has a hood. The dress is strapless and hits above the knee. The jacket is really cool because it trails behind the model, leaving half of the dress exposed. Katie interviews that she was confident with her garment but was not sure if the judges would like it or not. She found the runway experience really nerve-wracking.
Michael Knight's dress is and it's lovely. He made it from coffee filters and his model is Alexandra. It hits right above the knee and has little straps. The filters are used as scalloping all over the dress and it rocks. It's like a little flapper dress. You can tell Michael is happy with it when he sees it coming down the runway. He interviews that when he saw his model walk down the runway, he thought he was going to win the challenge.
Uh oh, it's time for Vincent's design. The hat. The glasses. He has these chains hanging off the basket hat that look like the things old ladies use to keep their glasses from falling off. His model is Lindsay and he used a lamp and sheets. And a basket. Michael Kors looks like he's trying to stifle a scream. The dress itself isn't that bad. It's a short dress with halter straps. There's some neat pleating at the neck where the straps meet. It gives an elegant shape to the dress, until you hit the pockets; they are just stupid little pockets that have been Bedazzled. Vincent seems pretty happy with his design.
Alison Kelly's design is . Amanda is her model. Alison used bed sheets and a beaded curtain. It's really cute. It has a kind of t-shirt quality. The neckline is straight across and there are cap sleeves. The dress is super-short and the beaded curtain is kind of draped across the bodice. I think Alison may have impeccable intuition, because there's something really awesome about the beads. Normally, I'd think something like that was a bad idea (re: Angela's pile of flowers), but this just works and I can't even say why. Alison interviews that she is happy with the outcome of her design.
Here we have Stacey Estrella's design. It was made with sheets and a shower curtain. Her model's name is Marilinda, and I did not misspell that. The design is not good. The skirt is still extremely sheer. The top is not fitted well to the model. I'd think this would have been the time to distract with some lovely accessories from the Macy's Wall, but no...we only get a ring chain belt. Stacey interviews that she loved the dress. She felt that the sheerness of the skirt was "ethereal and romantic." Sounds like Stacey has a BS on top of all her other degrees.
Here comes Robert Best's design. It was made from a duvet cover and a jeweled wall-hanging. His model's name is Danielle. The dress is simple and beautiful. It's white and sleeveless with a Givenchy neckline. The skirt flares at the red belted waist and ends above the knee. There are strings of beads that criss-cross on the back and hang over the bust of the dress like necklaces. There's a red bow where the strings of beads meet in the back. Robert interviews that he wouldn't change anything about his design because it came out exactly as he had hoped.
Uli's dress is . She made it with beads and curtains, and Katia models it. It's pretty. It has an empire waist and is kind of low-cut. The beads are arranged to create sort of a halter top. The colors are interesting. The majority of the dress is a kind of purplish gray and the accents are yellow. The dress is floor-length and moves really beautifully. Uli says that she is really happy with her dress. She feels like her model really helped her "pull off" the look.
Finally, we have Jeffrey's model, who throws all of this confetti or feathers or something when she enters the runway. Nina is not amused. The jacket that he made has sleeves that hang to the floor, quite like a straitjacket. Hopefully, they'll keep that around for when Vincent needs it. Jeffrey used felt, vinyl, towels, and bed sheets to make his design. His model's name is Javi. The dress has an empire waist and is composed of strips of fabric arranged vertically. It looks like he was going for something edgy. And it is, I guess. The edge of good. Jeffrey interviews that he was happy with his dress. He feels like it will establish him as a forward-thinking designer. Well, I can get on board for that. His design looks just like what I'd imagine people would wear in the future, after some war or plague had destroyed every good designer.
We cut to all of the designers lined up on the runway, while the judges tabulate scores. For the first time, we get a peek at what the judges are writing. We see a card with "Designers Name -- Malan Breton" on it. We only see a woman writing. "Used time" are the only words I can make out.
Heidi has the results. She asks Alison, Bradley, Angela, Kayne of Many Colors, Malan, Bonnie, Katherine, Michael, and Uli to step forward. They are all moving onto the challenge. That leaves us with Keith, Vincent, Jeffrey, Laura, Robert, and Stacey. They have the three highest and the three lowest scores. Their models return and stand beside their respective designers.
We begin the questioning with Laura. Kate Spade asks her what materials she used. Rug and chandelier. Michael says it's "chic" and "wearable." He also says it's noisy (the chandelier bits knock together) and Laura replies, "It's not for a wallflower." She's good. Michael agrees, "It's for the gal who wants to stand out."
Heidi tells Vincent, "I would have done it without the hat." Then she asks him to just take the hat off of the model altogether. Kate Spade says that she was so busy looking at the hat, she never really saw the dress. Nina wants to know why he used the hat. Vincent replies that he wants to try to keep his work interesting. I honestly don't know what to say right now. That hat has looked more ridiculous every time I've seen it. Michael says that the hat makes you wonder how many drinks the woman wearing it has had. Then Vincent says that he didn't really like the hat. Then he starts about ten sentences without finishing the thoughts. A sample: "I'm not trying to get outta --" "I'm just having fun." "You just, I know --" Heidi very slowly replies, "Sometimes, less is more."
Heidi tells Keith that his dress looked really well made. He says that his dress is made of bedding but that his bag was full of stuff. He then says that, while making his dress, he was reminded of Gone With The Wind and the parody of the movie on The Carol Burnett Show. He didn't want the dress to look like it was made from curtains. There are red buttons on the back of the bodice that are from a duvet cover. Nina thinks they're adorable. Michael notes that there is "no joke" to the outfit.
Moving onto Stacey, Nina asks her what her "design aesthetic" is. She answers that she prefers a sensuous silhouette. Then she explains that the lace underpants she made were a choice -- to make things more provocative. Heidi agrees that it makes the look naughty, but Michael says people will think that it is a mistake. He says that people don't want to show their "big stuffin' briefs." Kate Spade acknowledges that there's a nice idea behind the look, but all of the judges agree on the poor execution at work. Michael says that the fit of the top is so bad, it looks like the pillows are still in the pillowcases.
Robert is asked to explain his dress and he says it is "a little Maria from West Side Story...if she had, like, wall-hangings." All of the judges like the back of the dress. Robert explains that he enjoys "surprise details" like the back of the dress. We're all agreed -- Robert has made a really pretty dress.
Jeffrey starts the explanation of his design with, "I don't even know where to begin." The judges take the bait and say there was a whole lot going on with his look. Nina felt totally distracted by the feathers that his model threw. Jeffrey says that he used to be a production designer and he likes a show. He talks about how he wanted his look to be rock and roll, but the judges felt confused by the jacket and dress combo. After another minute of explanation, Heidi points out that the clothes shouldn't need that much explaining. Michael concludes by telling Jeffrey that he shouldn't overdo the layering. I don't think Jeffrey really heard any of that.
The judges confer. Heidi's favorites were Keith and Robert. They all loved the necklaces on Robert's dress. They loved the entire presentation of Robert's look, including hair and accessories. Michael found it emotional. They also are unanimous in their appreciation of Laura's coat. Michael very rightly points out that the minute you saw the coat, you thought, "That's so her!"
When Heidi mentions Vincent, Nina starts chuckling to herself. Kate starts off with the hat. Nobody likes the hat. Stacey's design was poorly executed. Nina thinks it looks like she pulled the sheets off of her bed and wrapped them around her model, which is, of course, what she did. Michael thought she looked like she was wearing her grandma's panties. When Heidi first saw Jeffrey's design, she thought, "Oh no, not another Santino." She doesn't like all of the shredded stuff, nor the dress being short in the back and long in the front. Kate Spade seconds her on the dress-length debate.
The judges have their decision, and they bring back the designers. Laura is "in." And Keith is the winner of the challenge. Strummy guitar as he exits the runway. He interviews that (again) it was the first dress that he ever made, and it's cool that he won. Laura congratulates him backstage. Robert is "in." Vincent is "in" too. Hmm, didn't really expect that.
Heidi tells Jeffrey that there was too much going on in his look. Stacey didn't choose innovative materials, nor did she execute her design well. Stacey is "out." Jeffrey leaves the runway. Stacey gets her kiss and "auf wiedersehen," and she's out of there. She interviews that her design was true to who she is as a designer (i.e. inexperienced, see-through, grandma panties). Tim arrives backstage and says, "Somebody had to go! And it was really tough." Stacey is a really great sport and has a happy smile on her face. As everyone says goodbye to her, Stacey says she doesn't know what is for her. Well, good luck, Stacey.