Project Runway All Stars (2012–…): Season 1, Episode 2 - A Night at the Opera - full transcript

Previously on Project
Runway All Stars...

Hello, designers.

All: Hi.

It's a new host, new judges.

Project Runway All
Stars is a new chance.

I think it's exciting.

Are you ready for your first challenge?

Oh, gosh.

We've given you a 99-cent store.

Lord, please let me grow.

April's dress...



It looks just like what you're doing.

I don't know if I'm in the

competitive mood yet.

Oh, no.

Oh, my God.

My glue gun, like, melted

through my whole dress.

[Bleep]!

- This is a very wearable look.
- The dress was like... what happened?

You mastered all of these elements.

You made them your bitch.

You can photograph this.

You could put it in an
editorial in a magazine.

Rami, you are the
winner of this challenge.



If you read the story on this

sleeve, you read it on that

sleeve, it's a good story.

You can't stand at the end of

the runway and explain your look

for half an hour.

I love clothes that tell me

the story the minute
they hit the runway.

I'm sorry to say, Elisa, you're out.

13 of the best designers from

Project Runway are back.

And this time competition
is tougher than ever.

Each week, their skills

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

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.

- Hi, designers.
- All: Hi, Angela.

So, you all made it through

your first week's challenge.

How do you feel?

Safe.

It's great to have you all here.

This week is all
about high-end glamour.

It's time to show us
how All Stars can create

showstopping ball gowns for

high-society events.

Our guest judges this week

are two iconic designers.

To tell us more about your

challenge, please welcome to the

runway mark badgley and James mischka.

I've always seen badgley
mischka as sort of a

career path that I could

pattern myself after somewhat.

They really have built a really

fantastic empire of evening wear.

Mark and James, welcome to
Project Runway: All Stars!

Thank you so much. Delighted to be here.

So why don't you guys tell

us all about this challenge?

The challenge is "a night at the opera."

We want you to design a gorgeous

evening gown for a
very glamorous evening.

I love the opera.

I grew up with opera music,

listening to Luciano
Pavarotti, Andrea Bocelli.

We want you to really turn

some heads with this look--

classic and elegant at the same time.

This is your chance to really

indulge your fantasies and make

a fabulous dress that
only goes to the opera.

It doesn't have to go anywhere else.

We're looking for a true couture touch.

It should be romantic
and feminine and soft.

If you're about the black dress,

it should be the most dazzling

black dress we've ever seen.

I really want to impress them.

Come on, those are the big boys.

Evening wear I can do, but

it's not my "paboom" moment.

Whereas it's Austin's "papoom."

I have a lot of respect for

Austin, but he's going to have

to bring it, 'cause I'm not

gonna slack off, and
may the best man win.

So, designers, you have a

budget of $350 to create your gown.

But you have just one
day to turn it around.

One simply cannot create a

couture dress in one day.

It usually takes weeks, if not months.

Can't make it too easy for you.

Of course not.

All Stars.

So good luck.

Mark, James, and I will see you

back here on the runway.

I knew this was coming, and

this is definitely not my strong point.

This is Anthony's hp tablet.

I'm making this amazing red dress.

I think Georgina's gonna steal

that dress right off the runway.

I know I wanna do red.

When I was on season eight,

I used tons and tons of black.

So I really wanna show the

judges that I can do other

colors and stuff, but they still

fit my aesthetic.

Like, something more, like, fitted.

The first season of runway, they

called me the "king of couture."

If I do not do amazingly well on

this challenge, I will be

embarrassed and humiliated.

Last week's challenge, when

I was in the bottom, I was petrified.

My heart was pounding out of my chest.

It sucks to be in the bottom

'cause it makes it seem like I'm

some kind of loser.

I never design before I go to mood.

I go to mood, and I bring back

the materials, and I just let

them kind of tell me what to do.

Okay, you guys ready to go to mood?

All: Yeah.

All right, let's go.

Let's go to mood!

So, it is a mad dash at mood.
You know, you forget just how

short a half hour really, really is.

I'm running through mood, and

I see this light-pink fabric

with black polka dots, and it's

so me, it's so girly and

beautiful, and I
immediately went for that.

There wasn't enough of it, so

I got scared 'cause I wanted to

do the whole dress in it.

So I found a matching pink organza.

15 minutes, guys.

15 minutes.

I see the different fabrics

that I want and how they have

the same red tone, um, that

I was looking for--this kind of,

like, oxblood red.

It worked out perfectly.

I sketched for, like, 20

minutes this gorgeous, red,

drapey creation dress with,

like, this red chiffon
and, like, red Jersey.

Lo and behold, [Bleep] April--

she's making a red dress.

He's like, "are you gonna do red?"

And I said, "yes, I'm gonna do red.

See my red fabric?"

Last week, I found mops.

She found mops.

And tell me how much that is.

This week I'm making a red

dress, she's making a red dress.

I have feathers, she has feathers.

Why, Michael?

What are you--are you doing--

it's driving me insane.

Who the [Bleep] cares?

If you wanna do red, do [Bleep]

Like, who cares?

No, I don't want the red anymore.

Somebody else is doing [Bleep]

Red, and I'm just, like, losing

it right now, so...

I see this black matte Jersey

that was gorgeous.

I'm gonna take 15 yards.

Thank God.

I just saw a look in my head

right then and there.

All: Thank you, mood!

Bye!

Thank you, mood.

We have one day.

We have to get back to the

workroom, and we have to just go.

The game plan is good time

management from the start
so that it gets done.

Everyone's, like, lock and key,
like, swallowing their keys.

I think everyone just realizes

that the people that surround

them are really strong.

So everybody just wants to just

tight-lip and get the work done.

So you're dyeing, April?

Yeah.

I do gowns, but I do
'em in a different way.

Me doing gowns is gonna be in a

corpse bride kind of way.

I would be a little

apprehensive to actually dye

something and then
make it all in one day.

If April is choosing to

sabotage herself, so be it.

April dyeing that fabric

could be just enough of a

mistake that could
probably send her home.

Coming up on Project
Runway: All Stars...

I know the pressure
is beginning to mount.

How am I gonna know this
isn't a bride's dress?

I constantly feel like I'm in

a pressure cooker.

Shock, horror!

- Austin?
- Yeah?

Can I use the screwdrivers again?

I broke a nail.

The challenge this week is to

create a gown that
is going to the opera.

On this one, I feel

Austin Scarlett has an edge, for sure.

This is what he makes, and

I think he's good at it.

This is, like, the last

challenge that I would
want to somehow fail at.

Why is it in pieces like this?

I don't know.

I'm gonna sew it back together.

You should probably hand-stitch it.

Yeah.

I have put looks together for

clients in one day, but not when

it comes to couture.

Couture is very special, and

it's very delicate, and you have

to respect couture for what it is.

It's smart that he's starting

with the main feature of his gown.

he finished that really quickly.

I've noticed Michael
works really quickly.

Ugh!

It's a little space-age, right?

Yep.

Hi, everybody.

All: Hi, Joanna.

I know that the pressure
beginning to mount, and I'm

gonna come round, talk to

everybody, find out how it's going.

I really appreciate that

Joanna coles is our mentor,

because part of winning this

whole thing is being a guest

editor at Marie Claire magazine.

Rami, congratulations on last week.

Thank you.

Tell me a little bit about your design.

I'm playing with triangles

around the bodice, bringing all

the points towards the waist,

and then they fan out again.

Who are you watching the most?

Who's your biggest competition

on this challenge?

I definitely think Austin.

He is perfect for this challenge.

Did I hear my name?

I feel like he has that

background in costume, so

I think he would
definitely be great in it.

Good luck.

I will let you get on with it.

Thank you so much.

Thank you. Appreciate it.

Austin, hello.

Hi, Joanna.

How are you?

- Wonderful.
- Good.

Well, I'm wondering what

you're gonna do to surprise us

all, 'cause I know that this is

absolutely your favorite thing.

You're brilliant at it.

Everybody's watching you.

I'm certainly nervous

because of the judges, because

people expect something of me.

High expectations.

Austin's niche is the evening gown.

So, if you're so used to making

something, this shouldn't be a big deal.

Just make it.

That's that.

No pressure.

Right.

How are you gonna surprise the judges?

What are you gonna do?

I'm thinking of having this

sort of whole lame, sort of

sheath underdress... mm-hmm.

To really show off a
beautiful figure and then

creating some dramatic volume

sort of with the tulle almost,

like, standing out away
from the gold sheath.

I like the color schemes.

We have faith in you.

You'll be great.

So-- all right, thank you so much.

So, tell me, what is the "April

wow factor" for this?

I'm hand-dyeing ombre right now.

You're hand-dyeing it?

Is that a good use of your time?

I guess it could be pretty

risky, but I'm pretty

comfortable with it, because

I do it at home a lot.

Okay, so it's a technique you feel...

When we're choosing dresses

to be on the cover of the

magazine, we're always looking

for something that has movement

and that has sort of real energy.

The main thing is the way the

fabric's gonna move.

I'll add big triangle insets

that are smaller at the top, so

they're fitted, and then as they

go out, they'll catch the breeze

as she walks on the runway.

So it'll be like a kind of

mermaid's movements, like...

Yeah, it's definitely ambitious.

I didn't even think about if

there was a plan "B."

Plan "A" just had to work out

right, and it better
damn well work out right.

How are you gonna make
this one stand out?

I'm planning on adding this

thing to its shoulders.

It goes here.

Very dramatic.

And this is gonna get sewn down.

She's going to the opera.

That's red carpet.

So I want her to steal the show.

Are you gonna do cups inside?

I don't think I'm gonna do cups inside.

No one wants a nip
slip, not at the opera.

That's tacky.

I'm always thinking, "how is

my body gonna look in this?"

And sometimes I worry designers

don't worry about it enough.

I'll tell you the truth.

Sometimes I don't worry about it enough.

Shock, horror!

- How are you?
- I am good.

Tell me how you picked this fabric.

I just went for the taffetas,

and I wanted to use color.

I mean, beautiful fabric,
but quite pastel-y.

I just think the color choice

for a night at the opera is a

little bit summertime-picnic
kind of dress.

How do you gonna make this
Evening wear, as opposed to, for

example, bridesmaid wear?

There's nothing worse than

getting to an event and knowing

that you've made the wrong

decision with the things that you have.

'Cause a dress like this can be

confidence, or it can
be confidence-sapping.

Hi, Sweet P.

Hi.

Talk to me about your design.

I had toyed with the idea of black.

That's really not me.

So I went for color again, and

then feathers I may play with.

I have quite a few.

Or... we'll see.

Sweet P's dress--it's kind of

the same silhouette as the

unconventional-challenge dress,

and she was in the bottom for that.

Yeah.

This is my gown.

I really, really love it.

It's gonna be in this cream

color palette with silk organza.

How am I gonna know this
isn't a bride's dress?

A bride wouldn't wear

something plunging in the front,

plunging in the back.

It's a little more forward-thinking.

Well, I'm looking forward to

seeing you doing
something really special.

I look forward to you seeing it.

All right, good luck.

Guys, I'm gonna go now, and

I wish you all the best
of luck for the runway.

All: Thank you.

See you soon.

It's nice to have some type

of validation from Joanna.

Because I may have a tough

exterior, people feel like, "oh,

Rami will be fine.

He'll pull it together or something."

But I'm only human, and it's

nice to get a little bit of

encouragement every now and again.

How are you doing?

This is taking me so long,

but it's coming out
the way I want it to.

Oh, good.

It's just very tedious.

I'm concentrating a lot on the

bodice, and I really want it to

fit really nicely.

I guess I'm just praying it works.

How are you, Kara?

The back in the front and the

front in the back.

If I was going to say who was

the weakest designer in the

room, it would have to be Kara.

She spends so much time doubting

herself that she doesn't really

focus on what she needs to work on.

I constantly feel under

pressure, like I'm in a pressure cooker.

But you've just got to, like--

Game on, you know?

Like, I just--I'll get it--

like, it will come together beautifully.

I had a lot of work to do just
to build up to have a foundation.

I have to get past my foundation first.

Oh, yeah, that's pretty.

Do you wanna serve it with my sandals?

I like that it's asymmetrical.

And, you know, you got this grecian
thing, and I got my little rope sandals on.

You know? Ta-da.

Excuse me for turnin' ho.

I think it's couture. It's one day.

It's a challenge, and
that really does...

Work for you?

Michael's dress--beautiful.

However, a little too celebrity

and not enough socialite.

Okay, guys, we only have five minutes!

Oh, [Bleep].

Tomorrow I have to reinforce

this whole [Bleep] by hand.

I'm gonna use that two hours--

is it done, though?

Okay, guys, that's it.

Let's go.

Yeah, I like it a lot.

Yeah, she's a cute girl.

- I'm so tired.
- Who's finished?

I know I'm not finished.

It's, like, not enough time for a gown.

It's not!

I am so afraid I'm
gonna be in the bottom!

Ugh!

Couture in a day.

It's unheard of.

Couture means months of

preparation, hours of hand labor.

Hand sewing, yes.

We're insulting the world of

couture by even usin' that word

to describe this challenge.

We're just gonna say,
"really, really, really

pumped-up prom dresses."

I'm a little stressed.

It's scary.

- I mean, it's the second change.
- I know.

And I'm just getting my groove.

I think Kara is struggling

with this challenge just a

little bit, and I really want

her to get it together.

Construction is as important as design.

Just concept, yeah.

With this design, I don't feel

like I'm, like, going off the cahoonies.

The design is absolutely there.

I know that you've just gotta,

like, finish it beautifully.

But I'm like, "you know what?

Let me just get, like, my hands

dirty with this one."

The time is just unreal for

what the task at hand is.

You kind of have to
half-ass things a little.

This is not the original

dress that I designed in my head.

Thank you, Mondo.

Oh, sorry.

Ugh.

This is a really
intense time crunch here.

There's not a lot of talking,

and we all feel like the time is

just unreal for what
the task at hand is.

You can't really take the

time to do French seams
or rolled hems by hand.

You kind of have to half-ass

things a little bit.

I wasn't at full speed yesterday.

I hope I'll be able to pull this off.

So good, girl.

I'm putting the last
little details together.

I think Austin's gown is pretty.

I just think it's a little bit,

I don't know, like, kind of basic.

This part is longer.

Yeah, this part... I'm
kind of excited because

this is so different than anybody's.

I mean, it can go either way.

You're doing hair and makeup first.

Oh, perfect.

I want her to look,
like, very sophisticated,

'cause to pull off this dress,

she can't be a little girl.

She's gotta be a grown woman today.

I want the hair swept
away from the face.

I want it so tight that she's

barely able to blink.

Lash out on her.

Lash out.

Powder her up-- blush, pink blush.

Just a little bit of eyeliner.

Like, a really sophisticated but

edgy dark, smokey eye.

My dress is black.

I want my model to channel

Angelina jolie a little bit.

Thank you, l'oreal Paris people.

All right, guys, we
got ten minutes left!

This is more stressful,

because you're up
against the most talented.

My dress--it's exactly what

I've envisioned, although I'd

had technical problems with the

bodice, for sure.

This is not original
dress that i've done in my

Head, but it's the dress that

worked perfect for this challenge.

Right over here.

She looks like mofo money.

I'm gonna probably put a really

nice clutch with it from this

Neiman-Marcus accessory wall

that I am just starin' down.

Job well done, team me.

Okay, guys, we gotta go to runway!

You ready to go?

Let's go, let's go.

Hi, designers.

As it's been said on

Project Runway, one day you're

in, and the next you're out.

This week's challenge was all

about high-end glamour.

You had a budget of $350 and

just one day to create a

beautiful gown fit for
a night at the opera.

Let's meet the judges.

First, we have the designer and

cofounder of marchesa--the

beautiful Georgina Chapman.

- Hi, desighners!
- All: Hi.

Next, one of the most famous

names in fashion,
designer Isaac Mizrahi.

Hi, Isaac.

A guest judges for this week,

Are world-famous
designers known for the

red-carpet-destined
evening

wear--Mark Badgley and James Mishka.

we're looking for style,

elegance, and individuality and

of the detail of your work.

Let's get started.

Have a great show.

I thought my dress looked
exactly the way I wanted it to.

It was flowing.

It had a statement.

It was fashion-forward, and she

just looked beautiful.

It's exactly what I wanted her to look.

I love the styling, her hair.

I love her makeup...
The fabrics, the beading.

I just love it.

I'm nervous. I'm just hoping they can

appreciate the amount of design

and detail that I put into it

and be forgiving of the fact

that it was a rush job.

I'm hoping they forgot that
they mentioned "romantic and

feminine" and that they just

see a great, sexy black gown

walking down the runway.

She looks amazing.

The gown fits perfectly,
and she's workin' it.

I see my model float down
the runway, and she looks like

cinderella.

It's exactly what I've envisioned.

I'm really, really happy
with the way it turned out.

I was really inspired by what

I know about opera.

I've seen Cleopatra, and I've

seen madame butterfly.

It looks very '60s, but very me

and very modern and almost futuristic.

I feel like I'm being so true to me.

This is so who I am.

I think my dress is gorgeous,

and let's just say I'm still

reaching around and patting

myself on the back for
a job well done, jerell.

I love my dress.

My model's just beautiful,
dreamy, elegant, young,

youthful-- exactly like I expected her to
look.

Love her.

My model clearly looks like a dream.

She looks rich.

She looks regal.

She looks like she's part of the

Anthony l. Williams experience.

As I watch my model fly down
the runway, she's just a vision

in molten gold, swathed in this

cloud of black tulle.

I think she looks every inch

the elegant lady of society.

I'm nervous, because I
can see the flaws in it.

Oh, and it's so hard to just sit there.

You just wanna go grab her off

and say, "hey, we gotta get

this right," but you can't.

I just had to hang in there.

My model is floating across
like nobody's business.

The crystals are glistening.

The light is catching the feathers.

And then when she turned around,

all you saw was this little

strap of crystals and this

80-foot little train.

It's gorgeous.

If I call your name,
please step forward.

Anthony... April...

Sweet P... Austin...

Kara... Michael...

You have the highest and lowest scores.

If I didn't call your
name, congratulations.

You're safe.

Your designs will keep you in

the competition, and
you may leave the runway.

One of you will be named this
week's winner, and one of you

will be going home.

Coming up on Project
Runway: All Stars...

I can't believe you
made this dress in a day.

She's a little lopsided on the tulle.

It looks like a dirndl skirt.

I mean, I did add pockets.

One of you will be named
this week's winner...

And one of you will be going home.

designers, let's bring out your models.

So, Anthony, would you like

to tell us about your design?

I wanted to do something in

cream or white, but I knew that

that could have a fine line

between "bridal," so I wanted to

add some edge with the leather.

I love the new context for

white that you created.

It isn't a bridal dress.

It looks kind of vampy and sexy.

And I love the plunging "v."

I like the black shoes and the glove.

I think it brings a toughness to

a very elegant, feminine dress.

I'm on the fence a little bit

about the gloves and the jewelry.

Does it take it too far
into that vampy world?

And would it be nice to keep it

a little more romantic?

However, I'm really glad you

used a satin-faced georgette,

because it drapes so beautifully.

I love that it's

body-conscious on one side, and

it's bloussant on the other--

makes it very modern.

It fits great.

I think it's dramatic.

It's a showstopper.

Oh, thank you.

April, would you like to tell

us about your gown?

I wanted to go away from my

norm, which is a dark,
black, gray palette.

I thought that red would be

appropriate for the opera.

Congratulations that you did

a color, but I think for the

opera, maybe it's not the time

to think about ombre
dyeing or tie-dyeing.

I do think there's probably a

lot of personal style in this,

but it just looks a teeny bit

tortured, a teeny bit rushed.

And I personally can't stand red

and black together.

Oh.

And that's why we work

together, 'cause I don't like
red and black either, so...

April, I find the cut of
this dress interesting.

I kind of looked to the red
queen, Alice in wonderland,

because that, for my style, is

an elegant thing--

something abstract like that.

I love the red.

However, when you're gonna mix

fabrications--one that's

reflective and one that's dull--

you've got to make sure the reds

sit, because right now they're a

little more like a mistake

rather than something
that's meant to go together.

Right.

So, Sweet P, could you
tell us about your outfit?

I really thought, "ball gown."

I just wanted to picture her

sort of waltzing, like
a modern-day cinderella.

I get more, like, sort of

prom dress from this
than I do ball gown.

It's like you started a ball

gown, but it looks like a dirndl skirt.

I wish you had just used the

fabric at the bottom to do

something at the top.

I was contemplating switching it.

And it was just a plain bodice

with seams, you know?

I wish you had.

Now I do, too.

'Cause I think that
would've served you better.

I like the fact that it is

color that stands out in a room

and is also very pretty, but the

bodice needs to be tauter and

executed a little more expertly.

That is the focus of a woman

when she goes out in the

evening, whether she says

something else--she's lying. It's all about
that.

I liked the color element of this.

I thought it was very daring,

but I did see it being
more of a day dress.

To me, this is not the opera.

It's not the metropolitan.

So, Austin, tell us about your gown.

I tried to have her look

sensual but still have a

certain modesty or refinement to

I love this dress.

I love it.

It looks fresh and
classic and expensive.

And you used the word "modest"?

I did use the word modest.

I think that veiling it
keeps it sophisticated.

It's alluring, I would hope.

Dresses are not modest

anymore, which is a shame.

I love this dress because it's modest.

You definitely know how
to cut a beautiful dress.

Looks like a dress that I would

see hanging up at Bergdorf's.

It's just lovely.

One little thing about it is

that she's a little
lopsided on oh, is it?

Where?

The bodice part.

Under her arm, I think.

Right-hand side.

There ya go, right there.

Okay.

That's just a thing on the

runway that drives us crazy.

But again, you had one day to do

this, so little things
like that can slip by.

I would like to see the

bustline cut maybe a touch lower.

But other than that, I
think you did a fabulous job.

Thank you very, very much.

Kara, tell us about your opera gown.

I don't normally gravitate

towards prints, and although

it's not conventional for

evening, it said to me, you

know, "Lincoln center, summer's night."

I think there's something to be

said with a print in the evening.

I agree.

I think the print is great.

I love the idea of just being

completely pure-- strapless ball gown.

But I will caution you--when

you're gonna be so simple, it

needs to be utterly perfect.

Everyone loves a black grosgrain

at the waist, but it's, like,

slightly too high or not high

enough or something.

To me, the grosgrain in the
back looks a little poor, if you

can turn around, sweetie.

I wish the tails on the ribbon

were about three, four feet

longer, to give it more
drama for the opera.

I think it's a good dress, but

it could've been spectacular.

I mean, I did pockets.

I love pockets in a dress.

I love pockets.

Like, I need my lipstick
and my iPhone, you know?

I think it's a very pretty dress.

I just question, where
are you in this dress?

It could be anybody's dress.

I'm not getting your
personality from it.

Michael, tell us about your opera gown.

Mark and James, you said, "if

you're gonna do black,
make it spectacular."

I wanted her to just walk in a

room, and everyone
wanna know, "who is she?

What is she doing here?

Is she the star of the show?"

I can't believe that you made this
dress in a day, 'cause it's perfect.

It's shockingly perfect.

And everything I was saying to

Austin about modesty, I'm taking

away and saying, "Kim kardashian

at the opera or something."

Turn around, 'cause the back of

it is really something, too.

Oh, I love that--

super sexy, that one
strap across the back.

But don't kid yourself.

This is not a dress that
a lot of women can wear.

True.

I mean, you have to have a
perfect, perfect body to wear it.

I love that you used matte Jersey.

I think it's such a flattering fabric.

And you did all that beading
and feathering for $350?

Yeah, most of my budget went

on the trim and the feathers.

Even if she's going alone,

she's certainly not going
home alone in that dress.

No.

It's exquisite.

I love how closed-up she is in

the front and how bare in the back.

It's so sexy.

Well, I certainly want
to wear that dress.

Thank you.

I can't wait to wear it.

Designers, you've given
us a lot to think about.

We're now going to deliberate,

and we'll call you back.

You can leave the runway.

So we have our high and our low scores.

let's talk about our low scores.

April.

I love this thought of taking

a gown and kind of dipping it in

black ink or something.

It just didn't go far enough.

It looks like she was putting

gas in her car, and she was

standing in the oil slick.

Like she fell in a puddle.

Super ambitious, but in one

day, I think you have
to know your limitations.

She wasn't boring, though.

And she did try and show who she

is in that dress.

That, she did.

But I don't understand why

she chose all these different fabrics.

The detail in the back looked

like the sewing machine just

stitched all the extra fabric down.

It was totally random.

It was like random
surrender to a mistake.

Let's talk about Sweet P's

I think that skirt would

really appeal to a lot of women.

It's pretty.

The fabric was rich.

I wish the bodice had been

made out of what the skirt was

made out of, 'cause the skirt

looked well put together, and

then the bodice looked like a swimsuit.

To me, it looked like some

crazy '40s bathing suit,

like some granny bathing suit.

And she called that a ball gown,

and that just wasn't a ball gown.

tell Scarlett O'Hara
that that's a ball gown.

Let's talk about Kara.

I sort of got where she was

going with that effortless look,

the young look, but to me, it

lacked personality.

I've seen that dress a thousand times.

I think I might be alone on

this one, but I adore this dress.

I think it's so charming.

I know a hundred girls that

would love to wear it.

I'm not personally that crazy

about the choice of fabric.

I don't know that many girls

that would wear it, and I wouldn't.

It's minimalism, right?

Mm-hmm.

But if she's doing minimalism

on this dress, where
did the bow come from?

That's true. That's true.

That bow bothered me.

And you were saying you wished

it was, like-- either more or nothing.

Four feet longer.

I just wanted to chop it off.

Okay, let's talk about our top scorers.

What do you think about Anthony's dress?

I thought Anthony did a beautiful dress.

I think it was beautifully

draped, impeccably made.

I like that it was white.

The drapery was specific and

not just kind of all over the place.

I like the asymmetry on it.

I thought that was very interesting.

It makes it a little more

theatrical for the opera.

I thought it was a great gown,

perhaps a little bit too

heavy-handed on some of the

accessories, but for the most

part, I thought the
model looked fantastic.

Let's talk about Austin's dress.

Gladly.

I loved Austin's dress.

It came across to me as the

freshest dress there.

It was tasteful, but it was

still exciting and beautifully executed.

Tasteful's such a good word.

I haven't heard that
one in a very long time.

And that's what that dress

was to me--tasteful.

Working with a fabric which

is so tricky, like lame...

And the way it cut on the

body, it was just flawless.

What do you think about Michael's gown?

This one was memorable.

This was spectacular.

It was really great.

As much as I love that dress,

you see dresses like that a lot,

with loads of stones and
feathers and bells and

whistles, but there was

something fresh about the fact

that it came all the way up.

I liked that.

You gotta give it to the

black feathers and jewels.

But that Jersey dress
was built beautifully.

he's got a knack for
this kind of dressing.

I think that the way that he

placed the embroidery was

really, really special.

That's what made you
look at the dress...

It made the dress.

Was the way that he covered

everything here with the

feathers, that sort of shrug

thing, and with the back

showing, it definitely had personality.

So are we all agreed?

We're all agreed.

Let's bring the designers back in.

Designers, turning out
incredible gowns in less than 24

hours really is an achievement.

One of you has the highest

score and wins this week's challenge.

One of you has the lowest score

and will be leaving us this week.

Designers, one of you has the
highest score and wins this

week's challenge.

One of you has the lowest score
and will be leaving us this week.

Antony...

You're safe. Congratulations!

You made a beautiful gown,

and you can leave the runway.

Michael... Austin...

One of you is the
winner of this challenge.

And that designer is...

Austin.

Thank you very, very much.

This challenge really

means a lot to me personally.

Coming from judges like you who

I've respected tremendously

for such a long time is tremendous.

Congratulations, Austin.

Your workmanship was flawless,

and you gave us a breathtaking gown.

you're one step closer
to that grand prize.

It's too much to even think about.

You can leave the runway.

Thank you. Thank you all.

Winning this challenge just

really gives me that extra

assurance and confidence.

Michael, it really was a

tough decision, and you made an

amazingly beautiful gown.

And you're safe. Can leave the runway.

Kara...

You're safe.

Thank you so much.

Sweet P...

April...

One of you will be in, and one

of you will be out.

April, we appreciate that you

stepped out of your comfort zone.

Being ambitious is
great as an all-star.

But in order to execute

something flawlessly, you have

to learn how to manage your time.

Sweet P, no one does color like you do.

But you lost your way in this

challenge, and you didn't trust

your initial vision.

That wasn't a dress to wear to Opera.

April.

you are in. I'm sorry to say, Sweet P,

you're out.

April, thank you.

We'll see you next week.
Can leave the runway.

I'm in. Oh!

I'm so happy.

Sweet P, thank you so much

for being part of All Stars.

You really are a talented

designer, and we wish you all the best.

Thank you so much.

Best of luck to you.

Bye, guys.

Bye-bye.

The best thing about this

experience has been meeting all

the other designers, who

I respect and watched and now

have gotten to know in such a

short amount of time.

You know, some people are gonna

love my stuff, and some people

are not, and it doesn't really

matter at the end of the day.

I still have a really happy life.

Next on Project Runway: All Stars...

we want you to create a

flamboyant cocktail dress for

one of the most famous

fashionistas in the world... Miss piggy!

I'm going to get to
design dress for a muppet.

The pressure is on.

Kara and kenley are
becoming quite codependent.

This isn't a team competition.

How does a pig feel about

wearing a giraffe print?

Oh, my gosh.

You made a really pretty

dress, and that's exactly the problem.

I'm gonna give you a [Bleep]

Showstopper.

This is the most ridiculous

thing I've ever seen!

Synced, corrected by mercurian2007