TFS: Team Anna

We're in the homestretch, ladies!

Not much to say about the team. To our eternal annoyance, they were professional and drama-free.

Bitches.

Andrew:



Very nicely done. It's got a little bit of a Roland Mouret thing going on with the sleeves. We like. The little strip of trim around the hem was a nice touch, although it looks a little pucker-y. Still, it's a super-cute dress and looks exactly like something Tinsley would wear.

Keith:



It's just okay. It really could have used some form of embellishment because a column of grey fabric is pretty boring. There's a little bit of interest in the construction of the bodice but not enough to generate any excitement. It doesn't help that the styling is so bleh.

Anna:







This is, without a doubt, the best look we've seen on the show so far. Unbelievably well-executed and far more expensive-looking than the 40 bucks she spent on it. It has a nice, simple sophistication to it and it's perfectly styled. To be honest, we never would have guessed she had it in her.

It's a shame it wasn't chosen for the win but we can understand why: it would be too expensive to produce, what with all the pleating in the skirt.


[Photos: BravoTV.com - Screencaps: Projectrungay.blogspot.com]


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TFS: Team James-Paul

They're like a stealth fighter! No, wait! They're like little paper airplanes! They're sharp, but soft! Or something!

Let's face it: Team Tiny is the one to beat.

Although James-Paul is NOT the person to go to describe the concept. Last week, it was a Rubik's cube dress that looked nothing like a Rubik's cube.

This week, the concept was "stealth fighter," which also meant absolutely nothing in the end.

"Stealth Fighter is, like, this very thin plane. That they just invented a couple of years ago."

"Think of an airplane, like, very sharp, very soft..."

Uh....yeah. Listen James-Paul, should you ever make it as a fashion designer, hire someone else to speak to the press and the buyers. Because whatever's going on in that head of yours? Makes no sense to the rest of the world.

And you're confusing the hell out of your team mates.

Thankfully, she appears to have abandoned (or at least played down) the paper airplane thing she was going for. We don't agree with Fern's assessment that it's too dressy for an art gallery. Concept-wise, it's a pretty nifty dress, but execution-wise, it's kind of a mess.




Yeah, Merlin. It's JUST like a Mercedes. What is it with these people and how they describe their work? Although, granted, it DOES kind of look like he gave her a front bumper there. It's an okay look but we can't imagine any woman wanting to wear a dress that gives her an exaggerated stomach.


Credit where it's due: this team is very good at making their disparate styles come together to look like a collection. Even though most of the looks owe nothing to each other, doing them all in the same colors was a smart choice. It may seem like an obvious one, but somehow, the other teams keep having problems figuring that out.

Anyway, this look. Much like his western counterpart, Christian, James-Paul seems to be stuck in one element that he's going to use over and over again: the architectural, origami-like stuff. There's a bit too much of it going on here for one look. Each piece would be great paired with something sleeker; the skirt with a simple cami or the top with a pencil skirt; but when they're put together, she looks like she's being yanked in opposite directions.


This is a much better entry from her than last week's. We kinda like. It's got a nice silhouette and it drapes nicely. We also like the idea of the racer-stripe trim. The problem, much like Angela's entry, is that the execution just isn't there. Had Angel and Lidia solved their execution issues, this could have been a knockout collection

[Photos: BravoTV.com - Screencaps: Projectrungay.blogspot.com]


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TFS: T Lo Interviews Laura

Laura, were you surprised with the outcome of this episode?
I was pretty shocked by the outcome. It took quite a while for it to actually sink in. “Is this really happening?”

You mentioned that you felt like everyone was ganging up on you. In what way?
I was talking to another reporter today and saying that it was one of those classic bad communication scenarios where a person will have something to say but is sort of a little fucked up and cautious of the other person and doesn’t say it for a while, and then becomes frustrated that they haven’t said anything and by the time they do say something, they’re yelling. It all comes out in a rush. And then people get upset and it goes downhill from there. That’s probably how things ended up the way it did.

Do you think the decision to send you home was all about the red tulle?
Not really. I feel that it had a lot to do with drama value and people value. When I’m around people I don’t enjoy very much I just stop talking and I don’t have that loud of a voice but there were a lot of people on there that were just naturally loud all the time. When I feel there isn’t a chance for me to talk, I don’t. I think I just didn’t have a lot of energy and I think that probably influenced them quite a bit.

For a show that’s all about teamwork, we feel like it’s not quite there, right?
Yeah, our second teamup we – yeah, our communication did not work well.

Did you agree with the judges’ critique or do you feel that it was too harsh?
I feel like a lot of the critiques on shows like this are sort of dramatized. I’ve had to receive a lot of criticism, I’ve had to give a lot of criticism and it’s usually best when it’s straightforward but to say that a person look homeless or whatever, it doesn’t really make sense. It’s sort of arbitrary but y’know, it’s dramatic.

You said that a socialite wouldn’t normally be the kind of client you would have. Did you feel like you couldn’t connect with the client?
I didn’t really know very much about her and we didn’t get a chance to research her and there wasn’t really any background information provided, so it’s like, if you knew about her you had quite a bit of a head start. But all I really saw of her was exactly what was on the air so it’s like you sort of have an idea but not enough to base a complete design on because it’s sort of a complicated thing because whenever you’re designing a product, it’s extremely important to know exactly who it’s for and not having that information makes it very difficult to work from and something that I’m not at all used to.

So you guys didn’t get a portfolio or a design brief?
No, I wish we would have. It might have been a lot easier to go, “Oh, Okay. I see what kind of things she’s interested in.” She’s fashionable, that much was obvious, but is she trend-forward? Is she right smack in the mainstream? There was just so much information that wasn’t there.

We did like the top of your dress but we really didn’t like the red tulle. Do you stand by your design completely?
I actually would have liked to get rid of the red tulle and keep it all black but I was told that she didn’t like things that were all black and I was trying to find a way to do something for evening and also to mix in a little bit of color, which is sort of a weird request. The other thing was that because we were working on such a budget, the only tulle that was available was in that color and that really put the nail in the coffin on the whole thing.

Do you feel you gained anything from this experience?
I hope so. It’s really difficult to tell based on where I am in my career. I have quite a few clients who love what I do, like, the fall collection was received really well, so it’s sort of difficult to tell how much things were propelled by this experience and how much would have happened anyway.

You have a lot of experience designing for musicians, like Scissor Sisters. Is that kind of your “thing?”
I have always known quite a few musicians; I have quite a lot of friends in that industry. If I have a celebrity client, it’s almost always a musician.

Tell us a little bit about your line. Is it called Laura Dawson?
Yes it is and it’s on lauradawson.com. Obviously, I love the line. It’s fun; it’s playful; it’s very organic. The design is innovative; it’s always of high quality. I had people come up to me in London and tell me that they purchased things in New York or California and it’s like their favorite thing and that they wear it to death and where can they get more, and that’s exactly what I want to get out of it. That’s how I feel about a great product when I have it. Something that’s a great design, should be something that you almost have to smack your hand away from going for it every single day out of your closet. It should also push the boundaries of what you expect. It should give you more than you’d had before.

How would you describe your style?
It’s a fusion between innovative, trustworthy and high quality. It's dependable.

Thank you so much, Laura.
Thank you.


Laura Dawson's designs:

[Photos: BravoTV.com/Lauradawson.com]


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