Kenley tells the other designers she’s leaving for Mood. “Ciao,” says Korto disinterestedly. Jerell snickers at that once the door swings shut. We’re shown photos of a younger Kenley as she talks about her rough life. “I was taught to be tough,” she says, adding that half her childhood was spent on a tugboat. Huh? “I could be as loud and obnoxious as I want. It probably had an impact on who I am today,” she continues in her voiceover. Couldn’t it just as easily have made her into a sailor or someone who likes to pull heavy objects behind her? I don’t see what being the daughter of a tugboat captain has to do with her personality. Does she like to hear the toot-toot of a passing horn? Why does being on a tugboat require “toughness”? Did the other kids in design school call her “Tugboat Annie?” Did they make her watch the old Marie Dressler film until she cried? I’m not following the story very well, I guess. So far the secret behind her professed “lifelong battles” remains exactly that.
Seven p.m. at Parsons, and Mr. Gunn quietly enters the workroom. “Hi, Tim,” the group greets him. Tim begins with Korto’s design. They both are “bothered” by the lace. It has overtaken the gown. Tim advises her to “bring just the right critical analysis to this” and to “work, work.” Kenley tells Tim she loves her dress. Tim is concerned that the ‘petals’ at the bottom of the gown look more like fish scales than like the leaves in the photograph. “Cool,” Kenley says proudly. She says she wanted it scaly, upon which Tim reminds her this is “a botanical theme, not an oceanic.” Jerell and Leanne exchange glances. Kenley emphasizes to Tim that she “loves it” and he leaves her work station with a vague “well, love it, but get this to work.”
Tim examines Jerell’s gown. On Jerell’s dress dummy is a sleeveless, layered gown in shades of purple. There is a cluster of large sequins at the lowest point of the heart-shaped bodice. Tim likes it but says Jerell has a lot of work left. Tim approaches Leanne’s gown; it’s a solid shade of lavender and looks fabulous from the waist up. But, “from here down, I’m seeing Hello, Dolly,” Tim says, gesturing toward the lower part of the skirt. In the back, the skirt is suggestive of a ruffles and bustles, similar to a Gibson Girl. Or a community theater musical. A bit overdone. “I think I know what to do,” Leanne says, and Tim seems satisfied to hear that. Before leaving the room, Tim calls each designer’s attention by naming the four in turn. He then announces that he is very proud of them. Kenley’s eyes well with tears. “Work, work, work,” Tim says, and with a “take care" to the group, he leaves.
Article comments