The models enter and everyone starts fitting. Kenley says she doesn't like anything that Korto makes, nay, what any one of the other designers makes. She thinks that Jerell throws a bunch of crap together and it looks like a craft project. She says that Leanne does pleated details with a muted palette. That's been done. Actually, she seems a little bit hesitant to talk shit after she describes what Leanne does. Leanne works with a lot of skill and rigor and you really just can't call her stuff bad. Hair and make-up for the girls. Kenley is really bossy with the make-up guy. Leanne is still putting her dress together. She says that this will not be her best work. Korto screams that she is freaking out.
Heidi greets all of the designers on the runway. She introduces Michael Kors, Nina Garcia, and guest judge Georgina Chapman, who is the co-founder and designer for Marchesa. The show begins.
Here is Korto's dress. It does not look expensive. In fact, it looks sort of flimsy, even from far away. It's a floor-length apricot dress with a halter-top and a plunging neckline. The neckline is the best part: sleek and flattering. The bottom is made of panels of different shades of apricot as well as that lace. There's a train of apricot satin. It kind of reminds me of the evening gowns you see for sale in these really cheapo stores in the Garment District in New York. You're like, who the hell wears those? Somebody going to a Mardi Gras ball? She says that she hopes they love the silhouette and won't be bothered by the "janky bead work." I like you're honesty, but let's be real, Korto. They're going to hate this.
Here's Leanne's work. I think it looks great. The bodice is especially lovely. There's a strap of petal-like pleating that covers one shoulder and climbs down the bodice and around the back. It's a darker lavender than the satin used for the bodice. The model looks GORGEOUS in this color. The skirt of the dress is made with the same fabric as the pleating, which does create a nice, flowing effect. The problem is, it makes the bodice look sort of like a girdle. The pleating creates a ruffled edge to the bodice and it covers the model's behind. If she had a little more time, she probably would have been able to incorporate the bodice into the skirt a little more seamlessly, no pun intended. There is a panel of darker blue in the back of the skirt that looks totally tacked on. Leanne says she likes the movement of the dress, but I don't think she's thrilled with it overall.