They begin with Irina who explains her idea of a feminine woman having to take on the shield of toughness to live in New York. "Quite honestly," Kors says, "we've seen a lot of the Warrior Woman. She's not a new character on the scene." Irina's model, Kalyn, by the way, is wearing that 13th look and I do not love how it turned out. The top somehow looks like a leather bathing suit, with the skirt bunchily tied around it. Why would you choose the slapdash thing you had to do at the last moment to show the judges at the end? For her part, Suzy Menkes thinks the collection had cohesion and was brought together beautifully. Heidi compliments the finished look of the collection. Shocking me, Nina loved the T-shirts, saying they added a surprising intimacy and were indicative of who Irina is as a designer. Nina doesn't get out to the mall much, I guess? I mean, the Gap sells a lot of T-shirts. She does ask, pointedly, why Irina went with all the black, reminding her with a piercing look that they talked about how it does not shoot well for magazines and thus does not get a lot of editorial coverage. Again, I have to wonder what she's talking about, honestly. Has she noticed the two zillion features that appear monthly in multiple magazines on the perfect little black dress? I guess, now that I've typed that, that that's most of the black we see in magazines. Fine, Garcia. You win again.
Many smiles all around for Carol Hannah. Nina loved the first look and compliments her on how she manipulated the difficult fabric. Heidi was enamored of the blue Grecian goddess dress, which CH reveals to have been the 13th look. Heidi is pleasantly shocked. "You're gooood!" she says. Suz (I call her Suz), is intrigued by that "upturned pyramid" number. She says it looks very hard to do and was "a clever feat" to bring it off. Carol Hannah says that dress was definitely more of a show piece. "It's not like, 'Oh, I'm gonna go have dinner, now.'" Don't sell yourself short, girl, as Suz would agree: "Well," she says, "I noticed it!" Heidi, however, had a hard time seeing the collection as a cohesive thing with a connective thread. Before moving on, Michael Kors says that he always considered CH's strength to be that mix of structure and drapery and thinks she did it very well in her collection.