Imagine an episode of Project Runway without the manufactured drama, the shameless product placements, and Heidi Klum’s blind stab at acting. It is possible, dear reader! Eleven Minutes, Michael Selditch and Robert Tate’s documentary, follows Jay McCarroll, the show’s first winner, during the months leading up to his debut fashion show. What results is a raw and entertaining look at the underbelly of the fashion industry and what it truly takes to be a successful designer.
Winning a reality competition like Project Runway is great. You get a car, some cash, and the title of “next great American designer” mandated by the Bravo channel. Young teenage girls, not to mention gaggles of gays, idolize you. And your likeness is immortalized in continuous marathons that will run until the end of time. What could be better? Well, judging from Eleven Minutes, a whole lot.
For starters, despite beating out thousands of applicants to take the title of a wildly popular show, McCarroll is at best a meager D-list somebody. When discussing the possible celebrities that might attend his show, one of his publicists name-drops Lindsay Lohan as if she were the Dalai Lama. Of course, Lindsay doesn’t make it, too busy crashing cars and blogging about her why-the-hell-not lesbianism. But, wait, the publicist says, JC Chasez is coming! You know, the guy who stood somewhere behind Justin Timberlake in the ’90s. No, not the gay one. Oh, forget it. But he’s coming! Oh, wait, nevermind, he backed out. That burns.
On top of being dissed by former boy band members, McCarroll struggles against his shelf life, which gets shorter as Project Runway produces season after season featuring even more audacious characters. There’s also the issue of overcoming the stigma of being just an over-the-top reality show personality and earning respect as a legitimate designer.
Shows like Project Runway lead viewers to believe that all there is to becoming the next big thing in fashion is a knack for design and sewing. This documentary does away with that polished concept of designers and captures the less glamorous business end of the industry. Who will finance the line, manufacture, distribute, merchandise, and advertise it? The filmmakers follow McCarroll as he tries to sort out the above while coordinating the myriad behind-the-scenes elements behind the eleven minutes of his fashion show: factories in New York and China, jewelry, wig, and shoe makers, and, worst of all, dreadful publicists.