As if to quell the steaming rage of fans over last week’s attempt at punk, Daniel Esquivel got sent home on Thursday’s Project Runway.
The challenge, an insect-and-arachnid-style avant garde task, prompted better designs than the prior episode’s. Daniel’s even looked quite good from the back.
Flowy chocolate brown ball gown billowing as its wearer walks? I’ll bite. But to view this from the back first illustrates its problems.
All Daniel did was make a gown, then add a see-through petticoat and neck brace. (‘You can do anything with silk organza’, he told us last time. I should have guessed he’d try.)
Beyond being as avant garde as porridge, it’s not even that nice a dress viewed from the front. If you’re doing a mullet dress, don’t do one with a drab upholstered bodice and a neckline that spells ‘M’ for ‘misconceived’. The one insectish aspect was the styling, most credit for which goes to hair and makeup.
No quarrel at all with this being sent home, though some viewers appeared to disagree – certainly, it wasn’t the worst thing on the catwalk. That dubious honour goes to this ensemble:
Oh Jeffrey. You know your reputation’s in decline when your model mounts the catwalk with a bag over her head.
Conceptually, I actually quite liked this: fashion that hints at bondage (as full, opaque face masks can’t fail to do) has definite appeal, and it’s inarguably avant garde. The problem’s the construction: this headpiece is baggy, lopsided spud sack, the trousers woefully lumpy in the crotch and the covered shoe a poorly realised piece of craft project design.
Nothing about those trousers is okay, one leg made out of tacky tablecloth textile, the other inexplicably bright red, in what seems like a shot at edginess that ended up resembling school play couture. (The fit problem above the knee is frightening, too.) And why a huge toilet roll tube sporting a ginger mane of pubic hair tops all of this, I can but guess.
Even that less-than-minor detail’s poorly made, as the rear view shows:
There’s scraggly, there’s raggedy and there’s just plain bad. (And if you’re making a head-covering mask, don’t leave your model’s bloody hair cascading from it.)
It’s a shame this all obscures the eye-catching, interesting print on the gold fabric of the top – it’s the one good element, but between the textile’s absence from the trousers, the giant cardboard wrap-around and the headdress’s bagginess, there’s almost none of it on show. Look at the texture of the sleeve: a whole, well-fitted bodysuit made out of that might well have won me over.
I’m seriously doubting Jeffrey’s skill at present. Not having seen any of him before this series, I struggle to see why he’s there – this week and last, his outfits have just been so badly rendered I’d be shocked to see them half way through a normal Project Runway series, let alone winning. On the other hand, I see why he survived while Daniel left.
Daniel, like Jeffrey, was a repeat offender in this task. While Jeffrey failed to step up his construction, Daniel failed twice in a row to grasp the essence of the challenge. Asked to do punk, he made a trouser suit and added straw; asked to do avant garde, he made a gown and added organza. It’s clear Daniel lacked range and versatility, making the same outfits we know him for week in, week out. That’s not someone who’s going to last a series. (Unless Jeffrey dramatically improves his execution, on the other hand, I doubt he will. Frankly, I’d send them both home if this weren’t an All Stars season.)
Melissa: similar diagnosis to Daniel. Last week she made something expected, this week she did a cocktail dress with added veil.
While the judges were about right with their bottom three, I’d say this is the most forgivable. It’s better put together by miles than Jeffrey’s get-up, and involves more things I like than his or Daniel’s. It’s certainly not avant garde (though it might be more so if the over-the-top hips were better realised), but the combination of white lipstick, veil and quiff is somewhat chic, the tailoring mostly accomplished and the cutout on the bodice interesting – I only wish it were created in more eye-catching textiles.
The mossy knoll mounted for some reason astride the back is a mistake, as are the garish olive bangle and the dress’s oh-so-strappy straps. It’s a better dress than Daniel’s though, something that might another week be passable – not enough, at any rate, for a red card.
JESUS FICTIVE CHRIST, CHRISTOPHER. The challenge was about living things. LIVING things. DO NOT MAKE YOUR MODEL LOOK DEAD with pallid makeup, then shade her neck so her whole head looks as if it’s floating morbidly. (I know it’s Hallowe’en week, but just don’t.) Also, like I said last week: edit.
This competed with Melissa’s dress for entry to my bottom three. Eventually it stayed out, at the low end of the middle, since like Jeffrey’s dress this aimed at least for avant garde, even if not perfectly realised. Where ordinarily, Melissa’s dress (and Daniel’s at an absolute stretch) might survive on being competent but dull, this is the avant garde challenge – better, I’d say, to attempt the right aesthetic and go wrong than not engage with it at all.
I don’t know what the Batman-style fins are doing everywhere. I don’t know what the see-through plastic underskirt is for. I don’t know why the model has been given actual saddlebags on her thighs, or why the middle section of the dress is shorter than the sides. The graphic on the front offers some interest though, as do the sandals, the ankle adornments and the Sharon Needles style fingernails visible here:
If Christopher could only calm things down, he might be a contender.
Seth Aaron… is it me, or does it seem like he and Jeffrey are here not to intensify the contest, but to prove the winners aren’t always the best?
I’m not sure what to make of this – it looks like a leather and lace petticoat with linoleum tiles set artfully around it. The latter detail is intriguing, and the former might, I guess, have worked, but I don’t see the connection. Apart from confirming numerous designer’s instinct that ‘avant garde’ means ‘whacky makeup’, there’s not much here I find remarkable.
Mychael: nineties Zygon nun at a rave, in war paint. Seriously, were the judges smoking crack on giving this the win?
There silhouette does, granted, boast an authentic cutting edge aesthetic, but the fabric looks like cheap grey felt to me, green bits stuck on to make it interesting. This might really have worked for me in different fabric, but it just looks sad, and the colour clash combined with the textile means we’re back in school play territory.
Ever since Olivier’s furry blonde caterpillars in series nine, I’m also primed to hate eyebrow embellishments. Even with that moustache, it just looks desperate and tacky.
More here from Irina on the theme of attempting avant garde by giving mainstream outfits space-age accessories – in her case, what seems like a giant, furry cock ring. (Notice also the return of last week’s wrist-ribbons, working admittedly somewhat better here.)
There’s a lot, in fact, that I like about this outfit: the eye makeup and nails, the boots, the bodice and the details on the skirt. In fact, if that headpiece had been lost in favour of perfecting the skirt, this might have edged into my favourite three – the stiffness with which it’s held above the model’s legs has definite avant garde potential.
If only some form of extra architecture (wires, perhaps?) had held this skirt a few degrees higher, to just out near-horizontally – that might have worked for me.
I should probably admit my crush on Viktor, whose brown eyes and bow ties seduce me every time, but this would have been my pick for the win. I’m not sure I’d have gone with both the yellow forehead and the yellow lips, but I adored this.
Radical, somewhat gender-bending neckline? Check. Intriguing, perfectly painted details on said neckline? Check. Actually-convincing, non-cringeworthy use of nude textile? Check.
The thin braids of the hair are one of the only features in this week’s designs which look insect-inspired, as does the outfit at large, and the draping of the white cloth is exquisite:
At quite the other end of the aesthetic spectrum…
The trousers are the clear highlight. The way the spiralling ribbon holds the line of lemon on the seam and how it’s maintained in top half of the garment are breathtaking, and the sleeve embellishment on the model’s right wrist is equally arresting. I’m not sure I’d have kept the chunky belt, however – a simple button on the jacket would have left the other details in the spotlight.
That credit Viktor gets for using nude fabric well? Likewise, kudos to Korto for making eyebrow makeup work. The spidery hair is a sight to behold too, and I’m in love with how androgynous this looks from behind:
There’s possibly a little too much going on in the midsection, though nothing like as much as in Christopher’s case. Still, this was a hit with me.
Was I the only one who thought Elena styled her model after herself? This was the look, other than Mychael’s, the judges came closest to naming the winner – I’d have had no objection at all.
I might somewhat have preferred if the shoulder embellishments had been mounted on ordinary upper sleeves, rather than such bulky, tubular ones. (These bring back unpleasant memories of Elena’s outfits in her season.) The print and the construction are superb, though.