Project Runway: Wearing New York City

Three episodes into "Project Runway," it's safe to say that this season has the highest concentration of annoying designers and head accessories.

Emily loves to tie really long headbands around her head over the top her hair. (Hey Emily, the Solid Gold dancers called; they want their costumes back.) Keith, meanwhile, ties a thick bandanna around his dome -- he's like the white, gay, Mormon version of Tupac. On the bright side, though, Kenley's fun accessories (all manner of clip-in flowers, feathers and jewels) are working for her.

And as it turns out, the trio's taste in head adornments translated into the kinds of outfits they'd make later on.

The designers' challenge was to create a look for a night on the town, based on different parts of Manhattan at night. To find their inspiration, they slipped on their ponchos and galoshes for a wet and rainy ride atop a double decker bus. They got off in various areas of town, took tons of photos and then chose one to be the driving force behind their garments.

After they picked up their supplies, they were back in the sewing room to create and to unleash their inner morons.

I keep thinking Suede's third-person talking will stop bothering me so much and eventually morph into the jumbled voices of the Peanuts parents. No such luck. "Suede is here to rock it! Suede's decided on working with a shirt dress silhouette. Suede's giving little flecks of color which goes back to my inspirational photo." Suede should put his lips under the sewing machine needle and press the foot pedal.

As a Washington native, I really wanted to root for Blayne, but that ship sailed after the first episode. He's just to much of a tool. Last night, he wondered "Is there any tanning salons down here?," he made weirdo psycho faces at Kenley before threatening to eat her, and told Tim Gunn, "Holla at cha boy."

With a totally serious look on his face, Gunn replied, "Holler at your boy? What does that mean? I don't get it." Oh, bless you, Tim Gunn.

In comparison to these asshats, Stella's broken-record talk of "leatha" and rock and roll didn't bother me as much this week. But she did win the award for noisiest project when she used a mallet to repeatedly pound grommets into her fabric.

On the runway, the Headwear Trio were among the six with the highest and lowest scores.

Keith turned in a shapeless frock made of floppy fabric squares. "When she walked by, it literally looked like toilet paper caught in a windstorm," Michael Kors said.

Emily's monstrosity looked like the model's breasts barfed up a mess of sunset-colored ruffles. And Jennifer's dress, based on a clock, was so boring I don't even want to describe it.

Meanwhile, Terri's graffiti-inspired, backless dress, worn over flared pants was a hit, as was Leanne's chic skirt and top ensemble, which she based on a tree planter grate.

In the end, though, Kenley's creation, which Kors deemed an "80s Joan Collins power bitch dress," took the top prize. I thought it looked like the model had a giant boil growing out of her hip, but what do I know?

Emily got the boot. Auf Wiedersehen, Em! Tell Marilyn McCoo we said hello.