Project Runway: All Stars (2012) s01e09 Episode Script
When I Get My Dress in Lights
Previously on Project Runway All Stars This week we've come to the world headquarters of the United Nations.
You'll be designing beautiful dresses inspired by these flags.
This is not "Greece lightning" right now--this is "Greece frightening.
" Michael C.
chooses Greece! Draping, Greece--Michael C.
She couldn't decide if she wanted to wear a little black dress or a long evening gown.
Are you convinced you can stand out? I have never seen a polka dot flag before.
Jamaica just from a simple black dress.
It's very well cut.
Somehow it looks like a very new textile.
Mondo, you're the winner of this challenge.
Oh, thank you so much.
Kenley, we did love your look too.
Try not to do a dress that looks like this next time.
You do it again and again.
It's just veering into costume a little bit.
I just don't know who can wear that dress or where.
It just looks schizophrenic.
I get Communism from this dress.
I'm sorry to say, Mila, but you're out.
And this time, the competition is tougher than ever.
Each week, their skills are tested to the limit, as they compete for the biggest prize in Runway history.
Who will be cut? And who will have it all sewn up? This is Project Runway All Stars.
The winner of Project Runway All Stars will sell their merchandise within an exclusive boutique at select Neiman Marcus stores and on Neimanmarcus.
com.
The winner will also get a spread in Marie Claire magazine and a position as guest editor for one year.
$100,000 in technology and office space from HP and Intel.
A sewing and embroidery studio provided by Brother International.
And a cash prize of $100,000 courtesy of L'Oreal Paris.
Hello designers.
All: Hi.
Just five All Stars remain in the competition.
All of you are getting closer to that grand prize.
Now it's really getting down to the wire.
And this week's challenge is the biggest test of your skills so far.
What? Huh? Innovation and technology are just as much a part of the fashion world as fabric and thread.
But you'll be using both in this challenge, as you light up the runway with your designs.
[Snaps.]
Okay, this is cool.
I've never really done anything with technology, like with electricity.
[Snaps.]
For the first time ever, the runway will be lit by black light.
You'll be using lighting technology to create an avant-garde look that we've never seen before on Project Runway.
I'm very much in love with this challenge.
The avant-garde always inspires me, because you can really take it to a whole other level.
And I really love that type of design.
You'll have access to all kinds of lighting effects.
I'm guessing you might want to know who our guest judge is this week.
All: Yeah.
He's a Grammy award-winning rapper, singer, composer, producer and fashion designer.
He's worked with everyone-- from Madonna to Snoop Dogg, Janet Jackson, Britney and Beyonce.
And he was also voted the best-dressed man in the world.
Who is it? It's all-round superstar Pharrell Williams.
Oh.
Pharrell is going to incorporate the winning design into the work with one of his artists.
Hot.
You name it, he's worked with them.
That's pretty cool that Pharrell's going to judge this and need it for a performer to wear.
So not only does it have to be avant-garde, it has to be functional and audience-friendly.
You'll have a budget of $300 at the lighting store for equipment, and an additional $100 at Mood to create your avant-garde visions.
I have never worked with lights before, on a design, so it's scary.
All of this will be happening on the runway tomorrow night.
So let your imaginations run wild.
Good luck.
Thank you.
Thanks.
We head off to the Barbizon light and special effects shop, where they have a lavish array of illumination for us to choose from.
Pretty! These are what I want.
I know.
Me too.
There's L.
C.
D.
lights, L.
E.
D.
lights.
There's tube lighting, there's Mississippi pearl lighting.
There's all kinds of crazy names for all these lights that are on the table.
Kenley.
What? I could just definitely see you doing something using nothing but this.
Just glue it right on.
Just on the girl.
Guys, I'm done.
There you go--your design's done.
I am instantly drawn to these really cool little L.
E.
D.
magnetic kind of bright white lights.
And these really cool little fiber-optic light things--they remind me of these toys that I used to buy off the ice-cream truck, so I'm going to incorporate those.
Where are the blue barrettes? Hopefully I'll be able to sort of scatter and weave these sort of delicate strings of lights through clouds of tulle, perhaps.
They're called fairy lights, coincidentally enough.
I cannot handle this.
You can handle it, Austin.
I believe in you.
Austin has become very high-maintenance.
He's like a A little prima donna.
I need to create a story in my mind.
I need to play make-believe.
I need to create a fantasy.
That is what inspires me.
That's what motivates me in my life--making fairy tales come true.
Can we check out and, like, see where we're at? $700 for this.
[Panicked laugh.]
What's my budget here? 300.
There's not enough budget to cover an entire garment in light bulbs.
So I immediately think of creating a print or a plaid with tape.
Let's get rid of those bulbs.
All right, you're up to $306.
85.
You can't give me a $6 discount? Thank you so much.
Thank you, Barbizon! Thanks, Barbizon.
I got some pink taffeta stuff that I'm going to make this coat out of.
Could I just get, um, four of this? But I also got this really gorgeous felt.
It's really stiff and very outside my comfort zone, 'cause I don't do stiff fabric too well.
Felt--kind of tricky.
How are you supposed to see any of this? First thing I do with the black light is just test out all of my fabrics and see how they read under the light.
Because some of the colors don't read the same color in natural light as they do in black light.
All I know is that I trust my instincts.
Oh! Love this.
Love, love, love that.
It's like an organza almost.
I want to get a fabric with a lot of stiffness, for volume.
Let's do five yards.
And I want it to be black so that the neon tape will pop under the black light.
15 minutes, designers.
Now that I know what lights I'm working with, the vision is very clear in my mind of what I'm doing.
It will be this grand, dramatic, but very light and airy ball gown.
And I really want to play up the stardust look.
So I'm just going with black tulle.
I know that I've used it a few times, but I think that it'll be the perfect backdrop for the star.
Yeah.
I am getting prints.
'Cause one of the fun things about designing something that's going to be seen in black light is you can get neon colors and stark white to really, really pop.
So I'm going to take advantage of that by mixing prints that you wouldn't expect.
Both: Thank you, Mood.
Bye.
Contact.
You guys like it? It is a bright idea.
[Sings.]
Ta-da! Oh, wow.
It's wow in the drawing.
Hopefully it will be wow in real life.
I'm just really thinking magical, dazzling, windswept, just like the heavens.
I'm really envisioning a starry sky in my mind as I sketch.
Look, they've created a whole darkroom for us.
This is cool.
They created a darkroom? Yeah.
Teeth are sparkling white, Kenley.
Yeah, it's very orangey.
It's almost like this.
Everything changes.
'Cause I know this is pink in the light, but it's orange.
Super orange.
Doo doo doo doo-doo Yes, get your shimmy on, get your shimmy on.
I'm going to doThis almost tribal peplum skirt that's this really kind of exaggerated shape.
I also found these really cool white feathers that glow in the black light and this fringe that looks like liquid electricity.
I feel like I'm really being true to who I am.
And I think it's definitely going to be Jerell.
What are you making? I'm making--it's going to be, like, a sort of midnight sky, like a see-through cage skirt with shooting stars.
It'll be like a galaxy of gorgeousity.
I'm making a kilt dress.
Cool.
Something different from you.
Yeah.
More structured.
I want to push myself with this one, and, um, see what I can come up with.
Really have anything done.
It's called a challenge for a reason.
So this is the challenge.
It can read very gimmicky.
I usually just go to the fabric, let the fabric speak to me.
And at this point, it's very quiet.
It's way too long.
Really? It looks awesome, though.
Do you like my plaid, Mondo? I'm not the right person to ask.
And remember, Mondo, if you don't have anything nice to say, then don't tell Kenley anything.
Mmm.
I am going to just start taping down stripes and creating a plaid.
And I want it to be a plaid ball gown.
You've really stretched yourself this time.
When I started working on that pink jacket, I really thought it was going to come together beautifully.
That's it.
If it comes out like that-- but I was just so worried that I couldn't pull this look together.
So I can't continue with something that my heart is not in.
I have this, too, that'll probably go on the black.
But I just got to Start the start move.
The day's almost gone.
I keep running back and forth in the workroom, moving to as many pieces as I can move to.
Thank God I bought, like, wool-nylon fabric.
I'm going on a wing and a prayer, hoping that it fits.
Well, you know what? I'm going to do something totally different.
Michael's playing seven minutes in heaven by himself.
[Laughs.]
I don't know where he's going with this one.
Honestly, doesn't look like much is keeping his attention right now.
That might get him in trouble.
I'm resorting to, uh, plan "B".
I have severe commitment issues when it comes to fashion.
A lot of people know this, that I can't just commit to one look and call it a day.
If it's not speaking to me, and screaming out "winner," I'm-- I got to move quick.
Coming up on Project Runway All Stars Michael's turning his model into an Ewok.
This looks sort of part Alien, part Elizabethan.
I really, really think that Austin's going to go home.
This week's challenge is to light up the runway, literally.
So we have to incorporate all these different lights, and it's got to be avant-garde-- something that you have not seen before.
Like, a fresh take.
It needs to move us forward and it needs to be inspirational.
That's looking gorgeous, by the way.
That's kind of Judy Jetson.
Judy Jet--yeah, perfect.
I love that, actually.
I do too.
I look over and, once again, guess who's changing their dress? Michael C.
I don't want to play it safe.
I don't want to just send anything down the runway and take the chance of getting eliminated for something crappy.
It's no secret Michael can pull out beautiful dresses in the time it would take Kenley to learn to tie her shoes.
[Laughs.]
Oh! You're hilarious.
It's no secret.
Hi, designers.
All: Hi.
Well, I think this is the most avant-garde--it's certainly the most electrifying challenge in the history of Project Runway.
And I cannot wt to see, first of all, how you create that magic.
And I want you all to focus on making a dress that really, really stands out.
Okay, Kenley, I'm going to come and look at what you're up to.
Hi, how are you? Hi.
I am excited about Pharrell Williams being the judge on this.
Me, too.
So tell me a little bit about what you're doing to try and woo his vote.
Well, right now, I'm creating a plaid.
You're actually sticking this on.
Okay.
I have this upholstery fabric.
Wow, so that's normally seen on the bottom of sofas and things, isn't it? Yeah.
I like Kenley's design a lot.
I think that it was very smart of her to create a plaid on her own textile with the glow tape.
But it's glow tape, it's not lights.
All right, good luck, Kenley.
Thank you.
Jerell.
Hi.
How's it going, Joanna? Hi.
Well, this looks a little bit like Kenley's, only much, much smaller.
Explain to me exactly the mechanics of how this is going to work, 'cause I have to confess, I have no idea how you do a lighting dress.
Well, I have to say that I am figuring it out as I go along myself.
That's a little scary.
This is going to be the shape that's lit up here, right? Yeah, and I got these little lights.
And what do you do with them? You want to avoid the Christmas tree.
Do you thread them onto something? Do you-- They're actually magnetic.
Oh, that's cool.
It's still definitely going to have this kind of ethnic flair to it.
I think that's going to come in with the rawness of this and the fringe, and the movement's going to be beautiful.
I definitely would love this to be my second win--let's put it that way.
All right, well, good luck with it.
She seems kind of into it.
It could either go fabulous or fugly--which is okay.
I could deal with that.
Wow, Austin.
Hi, Joanna.
Hi.
This looks sort of part Alien, part Elizabethan.
Actually, the whole vision is sort of--she's like the starry sky.
So this is really just sort of the foundation.
Right.
Let me ask you something.
Pharrell Williams is the judge, right? And the prize is he's going to put it on one of his artists.
Do you think that's too romantic for Pharrell? You know, just with the silhouette and the drama--with the swirling of the head, I want to give it that edginess.
But I still think it needs to reflect where I come from as a designer.
All right, well, just make sure it stands out from the other four in the room.
Okay.
Okay? Yeah.
It's an interesting week.
Oh, wow! Hi.
Welcome to the-- Well, this is very exciting.
'Cause there's no draping in sight.
I'm staying far away from the draping, and I'm doing something very structured.
Okay, all right, so talk me through it.
This is the headpiece thing that's not done yet, and it has this hole here for a ponytail.
I'll show you what it looks like.
It's very Lady Gaga, isn't it? Illuminated.
It's very Michael Costello.
It's very Michael Costello.
This is one of the things that I was working on too.
Wow.
Of course, I don't like the rippling of the tape.
But that's my only problem.
Well, the thing is, it's very physical, isn't it? The only concern I have is this is the kind of detail that will become incredibly obvious once it's on the runway, just because of the way things stand out.
And you don't want to get picked apart for that when your whole idea is so much better than that.
After my meeting with Joanna, I am freaking out about this light challenge.
Okay, good luck.
Okay, thanks.
Mondo.
Hello.
Okay, tell me how you are constructing your look.
I'm thinking I'm going to make a coat--a little jacket.
Put these through the bodice.
I have just made these panels.
I do not know where they're going to go, but they're going to be encased.
But it's an avant-garde challenge, so you could give her sort of strange bits sticking out somewhere.
At least you're not trying to disguise it.
You can't sort of rest on your laurels, can you? There's no immunity in All Stars.
Right.
And, I mean, with the time, it's like it just makes it more intense.
I think you just need to bring your Mondo-like focus to it.
All right, thank you so much.
All right, good luck.
Thank you.
Good luck, everybody.
I think the challenges are getting even more demanding.
And this is where your talent, your innovation and your creativity really have a chance to shine, and embrace the technology.
Thank you, Joanna.
[Indistinct.]
Oh.
Oh, my God.
[Sewing machine grinds.]
[Motor revs.]
Oh, my God, Jerell! That is so cute! It's like a little fairy.
Oh, that makes me smile! Yeah.
I'm the only designer who chose the fiber-optic lights.
So it gives you a very fine light, um, and a lot of movement, like so it bounces and it's--it's really pretty.
You're doing a pencil skirt or something, right? Yeah, to the ground.
I definitely want to get the skirt completed.
I really want to control what you see.
This challenge is, like, a really hard challenge.
At this point, I don't really have anything to put on my model.
I haven't really figured out how I'm going to use these tracks that I've created.
Oh, I love that.
You love it? I love.
Yay.
Jerell's design isUm Just weird.
And very poorly constructed.
I want to win this one, damn it.
Yeah, me too.
Isn't that cool? Yeah.
So cool.
Well, somebody said "light up.
" The design is actually coming together pretty well.
I really love this dramatic shape--keeping the silhouette very sleek and slim in the front, which I think is both flattering and avant-garde.
Michael's turning his model into an Ewok.
It has to be avant-garde, so-- Well, it's avant-garde.
It's going to be crazy.
[Laughs.]
Fabulous.
Okay, you got your shoes? Bye, ladies.
Wow, that looks great.
Good job! Michael just creates six different looks, and picks which one he wants to use.
I could never do that.
My stuff needs to be impeccably made.
And it needs to look perfect.
I'm done.
Actually kind of interesting.
I know.
I like Kenley's design.
But--and again--it's the same dress, but glow tape plaid dress That's cute.
Let me see.
It actually is.
[Sighs.]
So I speak to my motheron Skype--and I've never done that before.
Here I am.
Can you see yourself? No.
Nice mustache.
[Giggles.]
How is everything with, uh The house and everything? Tell me what happened.
It just went into foreclosure.
And the bank owns it? Or-- Yeah, yeah.
That's what it is.
Oh, God.
My mother worked as a real estate appraiser.
After the whole recession happened, you know, the whole housing market completely bottomed out, and she was basically unemployed.
Just--it horrifies me that my mother is basically homeless.
I hope I don't let you down.
Or myself.
You never let me down.
You know, I'm going to be cheering for you.
I want to win this for her, for our family.
Coming up on Project Runway All Stars This is going to be a [bleep.]
show.
My dress isn't lighting up.
Now I know with this dress what God must have felt when he was creating the heavens.
Whatever you do, girl, don't sweat; You don't want to get electrocuted.
I get this vision of what I want to show.
And I start executing it.
But I'm giving her a winter look.
I really grab it by the balls, and move forward with more energy and morepassion.
[Whistles.]
Whoo-hoo! Glow boobies! Globes.
Are there any white shoes? All right, guys, time's up.
Got to go.
So tired.
I know.
Oh, my God, it was exhausting today.
I know, Michael, you're done.
No.
You're actually not done? I got to add more lights.
The glue showed up as white.
So I have to get style tape and go over the glue with the black style tape.
I have to sew that coat.
Yeah, I'm really focusing the attention in a few places.
And you're doing something different--you're doing prints.
Yeah, 'cause I don't want to use too much of, like--I think there's a lot of the orange and the greens going on.
So it's, like, a different kind of--it's my take on it.
I think that we're down to five now, it's got to be memorable, and there's some very talented people here.
So I've definitely got to pull out some magic Jerell Scott stuff.
Luckily, I still have some left.
It's the morning of the runway show, and I'm a little nervous, because I still have to weave all of those fairy lights into the grid-jacket that I made.
And that could take a while, because it's a lot of weaving in and out.
Time is definitely running out.
Definitely starting to get nervous.
I'm running around in the workroom really fast.
I'm normally the first to finish.
And I still need to rip all the boning out, steam it, iron it, press it, and see what can I do to get the back lights working on this crazy coatdress.
I don't want to just, you know, send it out there with no lights.
You also don't want it to look like aChinese lantern.
Does it look like a Chinese lantern? I'm just saying.
Now I know with this dress what God must have felt when he was creating the heavens.
It's not easy.
[Chuckles.]
I'm in such a [bleep.]
mood today.
I'm having tons of technical issues with my dress.
It's not lighting up.
I'm not a technician.
I can hardly change a battery, let alone work with these lights.
It'sgoing to be a process today.
It's not going to bethat glamorous.
I just don't really get total avant-garde from Mondo's design.
I'm kind of surprised, because he is so creative.
I just don't see, like, tons of new, creative ideas going on in Mondo's dress.
Cheesy.
Let's go to hair.
I send my model to the L'Oreal hair and makeup room.
This will go, like--right here is perfect.
And have, like, a knot right at the top.
I was just thinking something, like, up and sort of sleek and secure.
Me likey.
It'll just be choppier, you know? Fluorescent makeup, like a pink, smoky eye.
Geisha kind of lip? Where it's this, like, white line where it's just right here.
Maybe some delicate, like, whitelike, stars.
Awesome, though.
Guys, we've got 30 minutes left.
My dress isn't lighting up.
That's a problem.
We'll see what happens.
Whatever you do, girl, don't sweat.
You don't want to get electrocuted.
[Laughter.]
This is the craziest thing I've ever made.
Michael's samurai look is hilarious.
It's just so over the top and she's so covered up.
I just can't imagine that model being comfortable right now.
I have never felt this good about my work, because it's so simple, so beautiful, cut to perfection, and it's me.
Have you looked at it in the black light room yet? Not yet.
I'm not doing any neon.
Repeat.
[Laughs.]
I love you, Austin.
Austin was the only one that didn't use neon, because he doesn't do neon.
He would never work with neon colors, and it turned out different than everyone else's.
Guys, five more minutes till runway show.
Okay.
The sexy pumps from the Neiman Marcus accessory wall Gorgeous.
Just gives the whole look a lift.
Knock 'em dead.
I definitely don't like Austin's look.
It looks like he took a bunch of lights and just draped them around the dress.
I really, really think that Austin's going to go home for this challenge.
Okay, guys, we've got to go to Parsons.
Coming up on Project Runway All Stars She looks kind of like an insect.
It also looks like a teletubby.
The styling just came off as grandma.
I didn't see any pretty woman walk down the runway.
Hello, designers.
All: Hi.
Pretty special challenge this week.
What was the hardest part? Everything.
[Laughter.]
As it's been said, on Project Runway, one day you're in and the next you're out.
There are five of you left, and after tonight, only four All Stars will remain.
This week we asked you to combine innovation with technology as you light up the runway with your avant-garde designs.
Let's meet the judges.
First, the designer and co-founder of Marchesa, Georgina Chapman.
Hi.
All: Hi.
Next, one of the most famous names in fashion, Isaac Mizrahi.
Hi, Isaac.
Hi, kids.
Our guest judge this week has revolutionized 21st Century music, and he's also known for his fashion lines, billionaire boys club and icecream.
Say hello to the guy voted best dressed man in the world, Pharrell Williams.
Hello.
[Applause.]
Hi.
It's time for you to light up the runway.
Have a great show.
[Dance music.]
I think the outfit is cool.
I think that I made it a little absurd and I think that it's different from everybody else's.
And either they're going to love it or they're going to hate it.
I love it.
It's like looking at the sun.
I think it's fantastic.
I love the way this stuff looks in the black light, so I think it's definitely going to have me stand out.
[Laughs.]
It's so crazy.
No one else is doing this sort of fabric.
It's definitely going to be Jerell.
I love this look.
This is my favorite challenge yet.
I love the jacket, I love the way I created a plaid with this cool, vibrant neon tape.
She walks in and she demands attention, and that was what I was going for.
Cute.
Stepped out of a dream.
I love the way my dress looks.
It's actually, I think, one of the favorite creations I've ever made.
It's pure fantasy, it's pure imagination, and I love it.
That's gorg.
She looks really cool.
She looks like she's going to kick some ass.
She's got this crazy Ninja Turtle look about her.
I love it.
I mean, in the dark, it's pretty fabulous.
I wish I could have give her a samurai sword.
There's no way I can go home for sending down something this cool.
She's going to go kick some ass.
Yeah, she is.
Designers.
Let's dim the lights and bring out your models.
Kenley, tell us about your avant-garde look.
Well, I really wanted to do something fun and innovative and really push myself this week, Isaac.
[Chuckles.]
And I wanted to think of a way to sort of utilize these beautiful fairy lights.
Well, let's find out what Pharrell Williams thinks.
I liked the shape of it.
I wish you could have used the lights in the piece versus, like, weaved in and draped around it.
It's like it's draped on a fence.
Like barbed wire.
Right, but I'm saying that with respect.
Like, I love--this is one of my favorites.
Oh, thank you.
I think it's divine.
I think it's divine.
Thank you.
You managed to give us volume on the top and volume on the bottom, and she doesn't look huge.
She looks so great, because we can see right through that grid.
Right.
I think you did stretch yourself.
The proportion is really great.
You've managed to achieve a big sleeve with a full skirt.
I think that was job well done.
I love that you were so thoughtful in creating a plaid with this tape.
Well done, Kenley.
Thanks.
So, Mondo, tell us about your avant-garde look.
I didn't want to just, like, apply the lights on top of the garment, so I made these casings for all of them.
I see so much of you in this dress, which I love.
Perhaps if you'd sort of brought those tracks in a little rather than having them straight, 'cause it's making her look very straight up and down now.
It does look a little Tron esque.
Mm-hm, I'veseen-- Have you seen Tron? Yes, I have.
I love the use of technology.
It goes like chaser lights in a limousine.
I wonder how avant-garde this dress is, though.
The boobs? The boobs are not avant-garde, do you think? But they're like old Cadillac wings.
The breast shape is very strange, like nothing I would ever think of.
Doesn't it remind you of Madonna slightly? Of course.
It also looks like a teletubby, weirdly.
Oh, that's what it is.
Which is my favorite, favorite thing on earth.
I live for teletubbies, so that means that is a big compliment.
I do, yeah.
Okay, well, thank you very much, Mondo.
Thank you.
Let's move on to Jerell.
When we were at the lighting store, I instantly gravitated toward the fiber optics.
I thought they'd have, like, a beautiful movement to them, and my objective was to kind of bring in the ethnic, tribal thing, but, like, tribal meets technology.
I like the movement in this.
Most of the others are very static pieces.
But on the other hand, it feels a little tribal raver.
You might find her in a tent somewhere at 6:00 in the morning.
[Laughter.]
I thought it was really funny that she had a light in her mouth.
That's quite sort of weirdly sexy, but I don't know, like, the rest of it looks like she bought some of those pieces at, like, a joke store, particularly the glasses.
The shoes go very joke store.
There's this amazing shaped skirt, but then why is there a long black dress underneath? I just really didn't want to see bare flesh.
I wanted it to just go black.
The styling just came off as, likeGrandma, you know, with the long dress.
Her body gets lost, and she just gets this long grandma look, like, you know, that grandma that's like, "I used to model, like, 20 years ago, 30 years ago.
" Can you try making it into a miniskirt just so we can sort of see? It goes Josephine Baker immediately.
There's something so much sexier about--like, she just went from grandma to sexy.
Now you're supposed to say "this was a trick and this is what I intended.
" [Laughter.]
The final reveal.
Thank you, Jerell.
Thank you.
Austin.
To me, one of the most beautiful types of light is starlight, so I found these fiber optic lights and these delicate wire lights.
They're called fairy lights.
I thought that I could really create just sort of this whole heavenly galaxy around my model.
I can see that.
I would have loved to see these spread out more into the dress, maybe with some layers of tulle over it.
Yeah.
I love this, Austin.
I think there's something mysterious about it.
It really is just, like, a beautiful piece.
This is so romantic.
The problem is, is it just lights put on a gorgeous dress? But on the other hand, it's just so pretty.
I'm enchanted by your dress, Austin.
Michael.
I wanted to create this avant-garde, futuristic, neon ninja warrior princess with the neon tape and the l-wire.
I like the idea of this.
The execution falls short.
It looks like tape on a dress, especially with the tapes that have wound around.
Also these chaser lights in here are very noisy, and then her waist kind of going on and off like that.
I don't think a person wants to call that much attention to her waist.
And then, if you turn around, that bow--you can't see her waist, and to me, that's a big problem.
Don't just put something on.
Like, you know, if you're going to do a bow at the back, do it properly or don't do it at all, because I think, in these time constraints, you've really got to edit yourself so everything is perfect.
I actually really like these shoulder pieces.
I mean, they're whimsical and crazy, like Mondo's, and I kind of like the ninja thing too.
When I see that, I just keep seeing, like, Mortal Kombat meets, like, Grace Jones.
She's more fit for, like, a Comic Con.
Perfect for that.
Designers, you all did an incredible job this week.
The judges have a lot to talk about, so we're going to send you away and we'll call you back to the runway.
Thank you.
Let's start with the highs.
So we have Austin, Kenley, and Mondo.
Let's talk about Mondo.
He's always good.
I mean, he's never not good, right? It was so good, what he did.
His usage of, like, the different materials was a little bit more harmonious than most of the other people.
It worked as a complete look, head to toe.
That's what I like about it, that it's a thought-out look.
It wasn't, like, thrown together.
There are no accidents with Mondo.
No.
Let's talk about Kenley.
I've never seen anything like that, those sleeves and that shape.
The proportion was really good.
It had a very little waist.
It was the wires that just made it look cheap to me.
But I like the wires.
The wires gave delicate, kind of kooky little wires to me.
I liked it.
She stepped up to your challenge this week, and you still see Kenley there.
Austin really took a totally different approach to this challenge.
Everybody else heard avant-garde and went futuristic, neon, and he didn't, and I love that.
To me, he's the silent killer.
[Laughs.]
The dress itself, minus the lights, is sick.
But in some sense, you do see the lights laid on top of it, and I would have loved to see it in the tulle more, in layers.
So let's move onto our low scores, and I'd just like to start with Jerell.
I feel like there's a lot of potential in that dress.
I love his energy.
It kind of flies out and it's got movement and I thought that was a really good idea, but why would he put a long skirt with that amazing thing that he had going on? In order to appreciate his designs, we needed to see the model.
That's part of being a designer.
You can't make half an outfit, and I feel like he made half an outfit.
Even without the dress, to me, it kind of goes joke store.
It's not sophisticated or wonderful or great.
Come on.
Let's move on to Michael.
I just didn't want to see Mortal Kombat.
The waist was big, those shoulders were gaudy and awful.
I didn't see any pretty woman walk down the runway.
I actually thought it gave a strong impression when it first walked out.
I think when it stood on the runway, that's when I saw all the problems.
I agree.
She does look like she will kick your ass, though.
She does.
He accomplished that.
This is going to be hard.
Very difficult.
Either-or would be very hard.
We all agree? Yes.
Designers, one of you is the winner of this week's challenge, and one of you will be leaving us tonight.
Designers, this was one of the most unique challenges we've seen on Project Runway.
One of you is the winner of this week's challenge, and one of you will be leaving us tonight.
MondoYou're safe.
You may leave the runway.
Thank you.
Bye-bye.
Kenley, Austin, one of you will have your avant-garde design used by one of Pharrell's artists.
Pharrell, would you like to name the winner? Austin.
Thank you.
Congratulations, Austin.
This is really exciting.
You're a star, man.
Thank you.
Congratulations, Austin.
Your design's going to be worn by one of Pharrell's artists.
You're through to next week and one step closer to the grand prize.
Well done.
You can leave the runway.
It is so incredible to be the winner.
And when Pharrell called me a star, it was, like, the most wonderful thing.
It really felt great.
You got it? I won.
Yay.
Kenley, your design was pretty incredible too.
Well done.
You may leave the runway.
Michael, you utilized the technology well, but the execution fell short and it wasn't flattering at the waist.
Jerell, your avant-garde design had great movement, but you can't make half an outfit.
You're out.
And that means you're safe, Michael.
You can leave the runway.
Jerell, thank you so much for being part of All Stars.
Absolutely.
This has been such an amazing experience, and I'm really thrilled to have gotten to do this again.
Give me a hug.
Okay, girl.
Thank you so much.
I appreciate it.
Okay, deuces.
I don't, like, beat myself up with woulda coulda shouldas.
What's really important is that--that I like what I do.
So going out on it, I can't be mad, because I did Jerell.
Oh, Jerell, I'm so sorry.
No, it--no, it's all--it really is all good.
It is what it is and Mm-hm.
I had fun.
Keep doing it, player.
[Laughs.]
Love you.
Love you too.
I really, truly believe everything happens for a reason, and I'm very proud of myself for making it this far in the competition, especially with the caliber of designers that I was competing against.
Cried, they slammed each other's work, and they're here to give you the inside scoop on all of it.
And a very special guest will be dropping by.
This is a true confession.
I thought Kenley should've won.
I hated this challenge.
Are you impervious to suggestion and criticisms? It's hard to keep these goodies in a jar.
I'm just going to keep it real.
It's all wrong.
The top is hideous.
It's got this sort of swooping dead bird effect.
You shut me up.
You'll be designing beautiful dresses inspired by these flags.
This is not "Greece lightning" right now--this is "Greece frightening.
" Michael C.
chooses Greece! Draping, Greece--Michael C.
She couldn't decide if she wanted to wear a little black dress or a long evening gown.
Are you convinced you can stand out? I have never seen a polka dot flag before.
Jamaica just from a simple black dress.
It's very well cut.
Somehow it looks like a very new textile.
Mondo, you're the winner of this challenge.
Oh, thank you so much.
Kenley, we did love your look too.
Try not to do a dress that looks like this next time.
You do it again and again.
It's just veering into costume a little bit.
I just don't know who can wear that dress or where.
It just looks schizophrenic.
I get Communism from this dress.
I'm sorry to say, Mila, but you're out.
And this time, the competition is tougher than ever.
Each week, their skills are tested to the limit, as they compete for the biggest prize in Runway history.
Who will be cut? And who will have it all sewn up? This is Project Runway All Stars.
The winner of Project Runway All Stars will sell their merchandise within an exclusive boutique at select Neiman Marcus stores and on Neimanmarcus.
com.
The winner will also get a spread in Marie Claire magazine and a position as guest editor for one year.
$100,000 in technology and office space from HP and Intel.
A sewing and embroidery studio provided by Brother International.
And a cash prize of $100,000 courtesy of L'Oreal Paris.
Hello designers.
All: Hi.
Just five All Stars remain in the competition.
All of you are getting closer to that grand prize.
Now it's really getting down to the wire.
And this week's challenge is the biggest test of your skills so far.
What? Huh? Innovation and technology are just as much a part of the fashion world as fabric and thread.
But you'll be using both in this challenge, as you light up the runway with your designs.
[Snaps.]
Okay, this is cool.
I've never really done anything with technology, like with electricity.
[Snaps.]
For the first time ever, the runway will be lit by black light.
You'll be using lighting technology to create an avant-garde look that we've never seen before on Project Runway.
I'm very much in love with this challenge.
The avant-garde always inspires me, because you can really take it to a whole other level.
And I really love that type of design.
You'll have access to all kinds of lighting effects.
I'm guessing you might want to know who our guest judge is this week.
All: Yeah.
He's a Grammy award-winning rapper, singer, composer, producer and fashion designer.
He's worked with everyone-- from Madonna to Snoop Dogg, Janet Jackson, Britney and Beyonce.
And he was also voted the best-dressed man in the world.
Who is it? It's all-round superstar Pharrell Williams.
Oh.
Pharrell is going to incorporate the winning design into the work with one of his artists.
Hot.
You name it, he's worked with them.
That's pretty cool that Pharrell's going to judge this and need it for a performer to wear.
So not only does it have to be avant-garde, it has to be functional and audience-friendly.
You'll have a budget of $300 at the lighting store for equipment, and an additional $100 at Mood to create your avant-garde visions.
I have never worked with lights before, on a design, so it's scary.
All of this will be happening on the runway tomorrow night.
So let your imaginations run wild.
Good luck.
Thank you.
Thanks.
We head off to the Barbizon light and special effects shop, where they have a lavish array of illumination for us to choose from.
Pretty! These are what I want.
I know.
Me too.
There's L.
C.
D.
lights, L.
E.
D.
lights.
There's tube lighting, there's Mississippi pearl lighting.
There's all kinds of crazy names for all these lights that are on the table.
Kenley.
What? I could just definitely see you doing something using nothing but this.
Just glue it right on.
Just on the girl.
Guys, I'm done.
There you go--your design's done.
I am instantly drawn to these really cool little L.
E.
D.
magnetic kind of bright white lights.
And these really cool little fiber-optic light things--they remind me of these toys that I used to buy off the ice-cream truck, so I'm going to incorporate those.
Where are the blue barrettes? Hopefully I'll be able to sort of scatter and weave these sort of delicate strings of lights through clouds of tulle, perhaps.
They're called fairy lights, coincidentally enough.
I cannot handle this.
You can handle it, Austin.
I believe in you.
Austin has become very high-maintenance.
He's like a A little prima donna.
I need to create a story in my mind.
I need to play make-believe.
I need to create a fantasy.
That is what inspires me.
That's what motivates me in my life--making fairy tales come true.
Can we check out and, like, see where we're at? $700 for this.
[Panicked laugh.]
What's my budget here? 300.
There's not enough budget to cover an entire garment in light bulbs.
So I immediately think of creating a print or a plaid with tape.
Let's get rid of those bulbs.
All right, you're up to $306.
85.
You can't give me a $6 discount? Thank you so much.
Thank you, Barbizon! Thanks, Barbizon.
I got some pink taffeta stuff that I'm going to make this coat out of.
Could I just get, um, four of this? But I also got this really gorgeous felt.
It's really stiff and very outside my comfort zone, 'cause I don't do stiff fabric too well.
Felt--kind of tricky.
How are you supposed to see any of this? First thing I do with the black light is just test out all of my fabrics and see how they read under the light.
Because some of the colors don't read the same color in natural light as they do in black light.
All I know is that I trust my instincts.
Oh! Love this.
Love, love, love that.
It's like an organza almost.
I want to get a fabric with a lot of stiffness, for volume.
Let's do five yards.
And I want it to be black so that the neon tape will pop under the black light.
15 minutes, designers.
Now that I know what lights I'm working with, the vision is very clear in my mind of what I'm doing.
It will be this grand, dramatic, but very light and airy ball gown.
And I really want to play up the stardust look.
So I'm just going with black tulle.
I know that I've used it a few times, but I think that it'll be the perfect backdrop for the star.
Yeah.
I am getting prints.
'Cause one of the fun things about designing something that's going to be seen in black light is you can get neon colors and stark white to really, really pop.
So I'm going to take advantage of that by mixing prints that you wouldn't expect.
Both: Thank you, Mood.
Bye.
Contact.
You guys like it? It is a bright idea.
[Sings.]
Ta-da! Oh, wow.
It's wow in the drawing.
Hopefully it will be wow in real life.
I'm just really thinking magical, dazzling, windswept, just like the heavens.
I'm really envisioning a starry sky in my mind as I sketch.
Look, they've created a whole darkroom for us.
This is cool.
They created a darkroom? Yeah.
Teeth are sparkling white, Kenley.
Yeah, it's very orangey.
It's almost like this.
Everything changes.
'Cause I know this is pink in the light, but it's orange.
Super orange.
Doo doo doo doo-doo Yes, get your shimmy on, get your shimmy on.
I'm going to doThis almost tribal peplum skirt that's this really kind of exaggerated shape.
I also found these really cool white feathers that glow in the black light and this fringe that looks like liquid electricity.
I feel like I'm really being true to who I am.
And I think it's definitely going to be Jerell.
What are you making? I'm making--it's going to be, like, a sort of midnight sky, like a see-through cage skirt with shooting stars.
It'll be like a galaxy of gorgeousity.
I'm making a kilt dress.
Cool.
Something different from you.
Yeah.
More structured.
I want to push myself with this one, and, um, see what I can come up with.
Really have anything done.
It's called a challenge for a reason.
So this is the challenge.
It can read very gimmicky.
I usually just go to the fabric, let the fabric speak to me.
And at this point, it's very quiet.
It's way too long.
Really? It looks awesome, though.
Do you like my plaid, Mondo? I'm not the right person to ask.
And remember, Mondo, if you don't have anything nice to say, then don't tell Kenley anything.
Mmm.
I am going to just start taping down stripes and creating a plaid.
And I want it to be a plaid ball gown.
You've really stretched yourself this time.
When I started working on that pink jacket, I really thought it was going to come together beautifully.
That's it.
If it comes out like that-- but I was just so worried that I couldn't pull this look together.
So I can't continue with something that my heart is not in.
I have this, too, that'll probably go on the black.
But I just got to Start the start move.
The day's almost gone.
I keep running back and forth in the workroom, moving to as many pieces as I can move to.
Thank God I bought, like, wool-nylon fabric.
I'm going on a wing and a prayer, hoping that it fits.
Well, you know what? I'm going to do something totally different.
Michael's playing seven minutes in heaven by himself.
[Laughs.]
I don't know where he's going with this one.
Honestly, doesn't look like much is keeping his attention right now.
That might get him in trouble.
I'm resorting to, uh, plan "B".
I have severe commitment issues when it comes to fashion.
A lot of people know this, that I can't just commit to one look and call it a day.
If it's not speaking to me, and screaming out "winner," I'm-- I got to move quick.
Coming up on Project Runway All Stars Michael's turning his model into an Ewok.
This looks sort of part Alien, part Elizabethan.
I really, really think that Austin's going to go home.
This week's challenge is to light up the runway, literally.
So we have to incorporate all these different lights, and it's got to be avant-garde-- something that you have not seen before.
Like, a fresh take.
It needs to move us forward and it needs to be inspirational.
That's looking gorgeous, by the way.
That's kind of Judy Jetson.
Judy Jet--yeah, perfect.
I love that, actually.
I do too.
I look over and, once again, guess who's changing their dress? Michael C.
I don't want to play it safe.
I don't want to just send anything down the runway and take the chance of getting eliminated for something crappy.
It's no secret Michael can pull out beautiful dresses in the time it would take Kenley to learn to tie her shoes.
[Laughs.]
Oh! You're hilarious.
It's no secret.
Hi, designers.
All: Hi.
Well, I think this is the most avant-garde--it's certainly the most electrifying challenge in the history of Project Runway.
And I cannot wt to see, first of all, how you create that magic.
And I want you all to focus on making a dress that really, really stands out.
Okay, Kenley, I'm going to come and look at what you're up to.
Hi, how are you? Hi.
I am excited about Pharrell Williams being the judge on this.
Me, too.
So tell me a little bit about what you're doing to try and woo his vote.
Well, right now, I'm creating a plaid.
You're actually sticking this on.
Okay.
I have this upholstery fabric.
Wow, so that's normally seen on the bottom of sofas and things, isn't it? Yeah.
I like Kenley's design a lot.
I think that it was very smart of her to create a plaid on her own textile with the glow tape.
But it's glow tape, it's not lights.
All right, good luck, Kenley.
Thank you.
Jerell.
Hi.
How's it going, Joanna? Hi.
Well, this looks a little bit like Kenley's, only much, much smaller.
Explain to me exactly the mechanics of how this is going to work, 'cause I have to confess, I have no idea how you do a lighting dress.
Well, I have to say that I am figuring it out as I go along myself.
That's a little scary.
This is going to be the shape that's lit up here, right? Yeah, and I got these little lights.
And what do you do with them? You want to avoid the Christmas tree.
Do you thread them onto something? Do you-- They're actually magnetic.
Oh, that's cool.
It's still definitely going to have this kind of ethnic flair to it.
I think that's going to come in with the rawness of this and the fringe, and the movement's going to be beautiful.
I definitely would love this to be my second win--let's put it that way.
All right, well, good luck with it.
She seems kind of into it.
It could either go fabulous or fugly--which is okay.
I could deal with that.
Wow, Austin.
Hi, Joanna.
Hi.
This looks sort of part Alien, part Elizabethan.
Actually, the whole vision is sort of--she's like the starry sky.
So this is really just sort of the foundation.
Right.
Let me ask you something.
Pharrell Williams is the judge, right? And the prize is he's going to put it on one of his artists.
Do you think that's too romantic for Pharrell? You know, just with the silhouette and the drama--with the swirling of the head, I want to give it that edginess.
But I still think it needs to reflect where I come from as a designer.
All right, well, just make sure it stands out from the other four in the room.
Okay.
Okay? Yeah.
It's an interesting week.
Oh, wow! Hi.
Welcome to the-- Well, this is very exciting.
'Cause there's no draping in sight.
I'm staying far away from the draping, and I'm doing something very structured.
Okay, all right, so talk me through it.
This is the headpiece thing that's not done yet, and it has this hole here for a ponytail.
I'll show you what it looks like.
It's very Lady Gaga, isn't it? Illuminated.
It's very Michael Costello.
It's very Michael Costello.
This is one of the things that I was working on too.
Wow.
Of course, I don't like the rippling of the tape.
But that's my only problem.
Well, the thing is, it's very physical, isn't it? The only concern I have is this is the kind of detail that will become incredibly obvious once it's on the runway, just because of the way things stand out.
And you don't want to get picked apart for that when your whole idea is so much better than that.
After my meeting with Joanna, I am freaking out about this light challenge.
Okay, good luck.
Okay, thanks.
Mondo.
Hello.
Okay, tell me how you are constructing your look.
I'm thinking I'm going to make a coat--a little jacket.
Put these through the bodice.
I have just made these panels.
I do not know where they're going to go, but they're going to be encased.
But it's an avant-garde challenge, so you could give her sort of strange bits sticking out somewhere.
At least you're not trying to disguise it.
You can't sort of rest on your laurels, can you? There's no immunity in All Stars.
Right.
And, I mean, with the time, it's like it just makes it more intense.
I think you just need to bring your Mondo-like focus to it.
All right, thank you so much.
All right, good luck.
Thank you.
Good luck, everybody.
I think the challenges are getting even more demanding.
And this is where your talent, your innovation and your creativity really have a chance to shine, and embrace the technology.
Thank you, Joanna.
[Indistinct.]
Oh.
Oh, my God.
[Sewing machine grinds.]
[Motor revs.]
Oh, my God, Jerell! That is so cute! It's like a little fairy.
Oh, that makes me smile! Yeah.
I'm the only designer who chose the fiber-optic lights.
So it gives you a very fine light, um, and a lot of movement, like so it bounces and it's--it's really pretty.
You're doing a pencil skirt or something, right? Yeah, to the ground.
I definitely want to get the skirt completed.
I really want to control what you see.
This challenge is, like, a really hard challenge.
At this point, I don't really have anything to put on my model.
I haven't really figured out how I'm going to use these tracks that I've created.
Oh, I love that.
You love it? I love.
Yay.
Jerell's design isUm Just weird.
And very poorly constructed.
I want to win this one, damn it.
Yeah, me too.
Isn't that cool? Yeah.
So cool.
Well, somebody said "light up.
" The design is actually coming together pretty well.
I really love this dramatic shape--keeping the silhouette very sleek and slim in the front, which I think is both flattering and avant-garde.
Michael's turning his model into an Ewok.
It has to be avant-garde, so-- Well, it's avant-garde.
It's going to be crazy.
[Laughs.]
Fabulous.
Okay, you got your shoes? Bye, ladies.
Wow, that looks great.
Good job! Michael just creates six different looks, and picks which one he wants to use.
I could never do that.
My stuff needs to be impeccably made.
And it needs to look perfect.
I'm done.
Actually kind of interesting.
I know.
I like Kenley's design.
But--and again--it's the same dress, but glow tape plaid dress That's cute.
Let me see.
It actually is.
[Sighs.]
So I speak to my motheron Skype--and I've never done that before.
Here I am.
Can you see yourself? No.
Nice mustache.
[Giggles.]
How is everything with, uh The house and everything? Tell me what happened.
It just went into foreclosure.
And the bank owns it? Or-- Yeah, yeah.
That's what it is.
Oh, God.
My mother worked as a real estate appraiser.
After the whole recession happened, you know, the whole housing market completely bottomed out, and she was basically unemployed.
Just--it horrifies me that my mother is basically homeless.
I hope I don't let you down.
Or myself.
You never let me down.
You know, I'm going to be cheering for you.
I want to win this for her, for our family.
Coming up on Project Runway All Stars This is going to be a [bleep.]
show.
My dress isn't lighting up.
Now I know with this dress what God must have felt when he was creating the heavens.
Whatever you do, girl, don't sweat; You don't want to get electrocuted.
I get this vision of what I want to show.
And I start executing it.
But I'm giving her a winter look.
I really grab it by the balls, and move forward with more energy and morepassion.
[Whistles.]
Whoo-hoo! Glow boobies! Globes.
Are there any white shoes? All right, guys, time's up.
Got to go.
So tired.
I know.
Oh, my God, it was exhausting today.
I know, Michael, you're done.
No.
You're actually not done? I got to add more lights.
The glue showed up as white.
So I have to get style tape and go over the glue with the black style tape.
I have to sew that coat.
Yeah, I'm really focusing the attention in a few places.
And you're doing something different--you're doing prints.
Yeah, 'cause I don't want to use too much of, like--I think there's a lot of the orange and the greens going on.
So it's, like, a different kind of--it's my take on it.
I think that we're down to five now, it's got to be memorable, and there's some very talented people here.
So I've definitely got to pull out some magic Jerell Scott stuff.
Luckily, I still have some left.
It's the morning of the runway show, and I'm a little nervous, because I still have to weave all of those fairy lights into the grid-jacket that I made.
And that could take a while, because it's a lot of weaving in and out.
Time is definitely running out.
Definitely starting to get nervous.
I'm running around in the workroom really fast.
I'm normally the first to finish.
And I still need to rip all the boning out, steam it, iron it, press it, and see what can I do to get the back lights working on this crazy coatdress.
I don't want to just, you know, send it out there with no lights.
You also don't want it to look like aChinese lantern.
Does it look like a Chinese lantern? I'm just saying.
Now I know with this dress what God must have felt when he was creating the heavens.
It's not easy.
[Chuckles.]
I'm in such a [bleep.]
mood today.
I'm having tons of technical issues with my dress.
It's not lighting up.
I'm not a technician.
I can hardly change a battery, let alone work with these lights.
It'sgoing to be a process today.
It's not going to bethat glamorous.
I just don't really get total avant-garde from Mondo's design.
I'm kind of surprised, because he is so creative.
I just don't see, like, tons of new, creative ideas going on in Mondo's dress.
Cheesy.
Let's go to hair.
I send my model to the L'Oreal hair and makeup room.
This will go, like--right here is perfect.
And have, like, a knot right at the top.
I was just thinking something, like, up and sort of sleek and secure.
Me likey.
It'll just be choppier, you know? Fluorescent makeup, like a pink, smoky eye.
Geisha kind of lip? Where it's this, like, white line where it's just right here.
Maybe some delicate, like, whitelike, stars.
Awesome, though.
Guys, we've got 30 minutes left.
My dress isn't lighting up.
That's a problem.
We'll see what happens.
Whatever you do, girl, don't sweat.
You don't want to get electrocuted.
[Laughter.]
This is the craziest thing I've ever made.
Michael's samurai look is hilarious.
It's just so over the top and she's so covered up.
I just can't imagine that model being comfortable right now.
I have never felt this good about my work, because it's so simple, so beautiful, cut to perfection, and it's me.
Have you looked at it in the black light room yet? Not yet.
I'm not doing any neon.
Repeat.
[Laughs.]
I love you, Austin.
Austin was the only one that didn't use neon, because he doesn't do neon.
He would never work with neon colors, and it turned out different than everyone else's.
Guys, five more minutes till runway show.
Okay.
The sexy pumps from the Neiman Marcus accessory wall Gorgeous.
Just gives the whole look a lift.
Knock 'em dead.
I definitely don't like Austin's look.
It looks like he took a bunch of lights and just draped them around the dress.
I really, really think that Austin's going to go home for this challenge.
Okay, guys, we've got to go to Parsons.
Coming up on Project Runway All Stars She looks kind of like an insect.
It also looks like a teletubby.
The styling just came off as grandma.
I didn't see any pretty woman walk down the runway.
Hello, designers.
All: Hi.
Pretty special challenge this week.
What was the hardest part? Everything.
[Laughter.]
As it's been said, on Project Runway, one day you're in and the next you're out.
There are five of you left, and after tonight, only four All Stars will remain.
This week we asked you to combine innovation with technology as you light up the runway with your avant-garde designs.
Let's meet the judges.
First, the designer and co-founder of Marchesa, Georgina Chapman.
Hi.
All: Hi.
Next, one of the most famous names in fashion, Isaac Mizrahi.
Hi, Isaac.
Hi, kids.
Our guest judge this week has revolutionized 21st Century music, and he's also known for his fashion lines, billionaire boys club and icecream.
Say hello to the guy voted best dressed man in the world, Pharrell Williams.
Hello.
[Applause.]
Hi.
It's time for you to light up the runway.
Have a great show.
[Dance music.]
I think the outfit is cool.
I think that I made it a little absurd and I think that it's different from everybody else's.
And either they're going to love it or they're going to hate it.
I love it.
It's like looking at the sun.
I think it's fantastic.
I love the way this stuff looks in the black light, so I think it's definitely going to have me stand out.
[Laughs.]
It's so crazy.
No one else is doing this sort of fabric.
It's definitely going to be Jerell.
I love this look.
This is my favorite challenge yet.
I love the jacket, I love the way I created a plaid with this cool, vibrant neon tape.
She walks in and she demands attention, and that was what I was going for.
Cute.
Stepped out of a dream.
I love the way my dress looks.
It's actually, I think, one of the favorite creations I've ever made.
It's pure fantasy, it's pure imagination, and I love it.
That's gorg.
She looks really cool.
She looks like she's going to kick some ass.
She's got this crazy Ninja Turtle look about her.
I love it.
I mean, in the dark, it's pretty fabulous.
I wish I could have give her a samurai sword.
There's no way I can go home for sending down something this cool.
She's going to go kick some ass.
Yeah, she is.
Designers.
Let's dim the lights and bring out your models.
Kenley, tell us about your avant-garde look.
Well, I really wanted to do something fun and innovative and really push myself this week, Isaac.
[Chuckles.]
And I wanted to think of a way to sort of utilize these beautiful fairy lights.
Well, let's find out what Pharrell Williams thinks.
I liked the shape of it.
I wish you could have used the lights in the piece versus, like, weaved in and draped around it.
It's like it's draped on a fence.
Like barbed wire.
Right, but I'm saying that with respect.
Like, I love--this is one of my favorites.
Oh, thank you.
I think it's divine.
I think it's divine.
Thank you.
You managed to give us volume on the top and volume on the bottom, and she doesn't look huge.
She looks so great, because we can see right through that grid.
Right.
I think you did stretch yourself.
The proportion is really great.
You've managed to achieve a big sleeve with a full skirt.
I think that was job well done.
I love that you were so thoughtful in creating a plaid with this tape.
Well done, Kenley.
Thanks.
So, Mondo, tell us about your avant-garde look.
I didn't want to just, like, apply the lights on top of the garment, so I made these casings for all of them.
I see so much of you in this dress, which I love.
Perhaps if you'd sort of brought those tracks in a little rather than having them straight, 'cause it's making her look very straight up and down now.
It does look a little Tron esque.
Mm-hm, I'veseen-- Have you seen Tron? Yes, I have.
I love the use of technology.
It goes like chaser lights in a limousine.
I wonder how avant-garde this dress is, though.
The boobs? The boobs are not avant-garde, do you think? But they're like old Cadillac wings.
The breast shape is very strange, like nothing I would ever think of.
Doesn't it remind you of Madonna slightly? Of course.
It also looks like a teletubby, weirdly.
Oh, that's what it is.
Which is my favorite, favorite thing on earth.
I live for teletubbies, so that means that is a big compliment.
I do, yeah.
Okay, well, thank you very much, Mondo.
Thank you.
Let's move on to Jerell.
When we were at the lighting store, I instantly gravitated toward the fiber optics.
I thought they'd have, like, a beautiful movement to them, and my objective was to kind of bring in the ethnic, tribal thing, but, like, tribal meets technology.
I like the movement in this.
Most of the others are very static pieces.
But on the other hand, it feels a little tribal raver.
You might find her in a tent somewhere at 6:00 in the morning.
[Laughter.]
I thought it was really funny that she had a light in her mouth.
That's quite sort of weirdly sexy, but I don't know, like, the rest of it looks like she bought some of those pieces at, like, a joke store, particularly the glasses.
The shoes go very joke store.
There's this amazing shaped skirt, but then why is there a long black dress underneath? I just really didn't want to see bare flesh.
I wanted it to just go black.
The styling just came off as, likeGrandma, you know, with the long dress.
Her body gets lost, and she just gets this long grandma look, like, you know, that grandma that's like, "I used to model, like, 20 years ago, 30 years ago.
" Can you try making it into a miniskirt just so we can sort of see? It goes Josephine Baker immediately.
There's something so much sexier about--like, she just went from grandma to sexy.
Now you're supposed to say "this was a trick and this is what I intended.
" [Laughter.]
The final reveal.
Thank you, Jerell.
Thank you.
Austin.
To me, one of the most beautiful types of light is starlight, so I found these fiber optic lights and these delicate wire lights.
They're called fairy lights.
I thought that I could really create just sort of this whole heavenly galaxy around my model.
I can see that.
I would have loved to see these spread out more into the dress, maybe with some layers of tulle over it.
Yeah.
I love this, Austin.
I think there's something mysterious about it.
It really is just, like, a beautiful piece.
This is so romantic.
The problem is, is it just lights put on a gorgeous dress? But on the other hand, it's just so pretty.
I'm enchanted by your dress, Austin.
Michael.
I wanted to create this avant-garde, futuristic, neon ninja warrior princess with the neon tape and the l-wire.
I like the idea of this.
The execution falls short.
It looks like tape on a dress, especially with the tapes that have wound around.
Also these chaser lights in here are very noisy, and then her waist kind of going on and off like that.
I don't think a person wants to call that much attention to her waist.
And then, if you turn around, that bow--you can't see her waist, and to me, that's a big problem.
Don't just put something on.
Like, you know, if you're going to do a bow at the back, do it properly or don't do it at all, because I think, in these time constraints, you've really got to edit yourself so everything is perfect.
I actually really like these shoulder pieces.
I mean, they're whimsical and crazy, like Mondo's, and I kind of like the ninja thing too.
When I see that, I just keep seeing, like, Mortal Kombat meets, like, Grace Jones.
She's more fit for, like, a Comic Con.
Perfect for that.
Designers, you all did an incredible job this week.
The judges have a lot to talk about, so we're going to send you away and we'll call you back to the runway.
Thank you.
Let's start with the highs.
So we have Austin, Kenley, and Mondo.
Let's talk about Mondo.
He's always good.
I mean, he's never not good, right? It was so good, what he did.
His usage of, like, the different materials was a little bit more harmonious than most of the other people.
It worked as a complete look, head to toe.
That's what I like about it, that it's a thought-out look.
It wasn't, like, thrown together.
There are no accidents with Mondo.
No.
Let's talk about Kenley.
I've never seen anything like that, those sleeves and that shape.
The proportion was really good.
It had a very little waist.
It was the wires that just made it look cheap to me.
But I like the wires.
The wires gave delicate, kind of kooky little wires to me.
I liked it.
She stepped up to your challenge this week, and you still see Kenley there.
Austin really took a totally different approach to this challenge.
Everybody else heard avant-garde and went futuristic, neon, and he didn't, and I love that.
To me, he's the silent killer.
[Laughs.]
The dress itself, minus the lights, is sick.
But in some sense, you do see the lights laid on top of it, and I would have loved to see it in the tulle more, in layers.
So let's move onto our low scores, and I'd just like to start with Jerell.
I feel like there's a lot of potential in that dress.
I love his energy.
It kind of flies out and it's got movement and I thought that was a really good idea, but why would he put a long skirt with that amazing thing that he had going on? In order to appreciate his designs, we needed to see the model.
That's part of being a designer.
You can't make half an outfit, and I feel like he made half an outfit.
Even without the dress, to me, it kind of goes joke store.
It's not sophisticated or wonderful or great.
Come on.
Let's move on to Michael.
I just didn't want to see Mortal Kombat.
The waist was big, those shoulders were gaudy and awful.
I didn't see any pretty woman walk down the runway.
I actually thought it gave a strong impression when it first walked out.
I think when it stood on the runway, that's when I saw all the problems.
I agree.
She does look like she will kick your ass, though.
She does.
He accomplished that.
This is going to be hard.
Very difficult.
Either-or would be very hard.
We all agree? Yes.
Designers, one of you is the winner of this week's challenge, and one of you will be leaving us tonight.
Designers, this was one of the most unique challenges we've seen on Project Runway.
One of you is the winner of this week's challenge, and one of you will be leaving us tonight.
MondoYou're safe.
You may leave the runway.
Thank you.
Bye-bye.
Kenley, Austin, one of you will have your avant-garde design used by one of Pharrell's artists.
Pharrell, would you like to name the winner? Austin.
Thank you.
Congratulations, Austin.
This is really exciting.
You're a star, man.
Thank you.
Congratulations, Austin.
Your design's going to be worn by one of Pharrell's artists.
You're through to next week and one step closer to the grand prize.
Well done.
You can leave the runway.
It is so incredible to be the winner.
And when Pharrell called me a star, it was, like, the most wonderful thing.
It really felt great.
You got it? I won.
Yay.
Kenley, your design was pretty incredible too.
Well done.
You may leave the runway.
Michael, you utilized the technology well, but the execution fell short and it wasn't flattering at the waist.
Jerell, your avant-garde design had great movement, but you can't make half an outfit.
You're out.
And that means you're safe, Michael.
You can leave the runway.
Jerell, thank you so much for being part of All Stars.
Absolutely.
This has been such an amazing experience, and I'm really thrilled to have gotten to do this again.
Give me a hug.
Okay, girl.
Thank you so much.
I appreciate it.
Okay, deuces.
I don't, like, beat myself up with woulda coulda shouldas.
What's really important is that--that I like what I do.
So going out on it, I can't be mad, because I did Jerell.
Oh, Jerell, I'm so sorry.
No, it--no, it's all--it really is all good.
It is what it is and Mm-hm.
I had fun.
Keep doing it, player.
[Laughs.]
Love you.
Love you too.
I really, truly believe everything happens for a reason, and I'm very proud of myself for making it this far in the competition, especially with the caliber of designers that I was competing against.
Cried, they slammed each other's work, and they're here to give you the inside scoop on all of it.
And a very special guest will be dropping by.
This is a true confession.
I thought Kenley should've won.
I hated this challenge.
Are you impervious to suggestion and criticisms? It's hard to keep these goodies in a jar.
I'm just going to keep it real.
It's all wrong.
The top is hideous.
It's got this sort of swooping dead bird effect.
You shut me up.