Rogers: “It’s kind of uncomfortable, though.” But the Italians being as amazing as they are, they put one together! And the headpiece is actually very, very light.” That was something we requested not knowing if they were going to do it or not. That train was about 10 or 12 feet long - quite long. “Because of the with her crossing the street, we thought, let’s make an extended train. So Molly asked them if they would remake it for the Met scene. we thought red would be a great color on LTW it’s a very strong, bold color, and she wears color so well. Santiago: “Molly and I were invited by Valentino to come to the couture show, and there was a beautiful black-and-white gown that had a white caged headpiece. ” Lisa’s traffic-stopping Valentino couture Craig Blankenhorn/Max Rogers: “I have a good video of her spanking MPK. She’s got such a great hourglass silhouette to dress, so we cinched her in this shiny latex, gave her the latex glove and the patent boot to go with it. We were thinking Bettie Page, giving it a little fetish-y, ’50s. Santiago: “We didn’t want to make it so traditional period we wanted to do something that’s a little more modern. They’re not having it, which is a shame! I love her in latex.” Rogers: “There’s a lot of squawking on the internet. And they wrote dialogue for it!”Ĭharlotte’s S&M-meets-equestrian ensemble Craig Blankenhorn/Max I loved at the time that it was something borrowed and something blue. Rogers: “When the ‘Sex and the City’ movie came out, there was a Saudi princess who wanted it buy it for $250,000, but Shannon said no. It’s from New York Vintage, and they have it a vault.” “That’s the original bird - it’s very fragile, over 100 years old. The color was exactly the same as the bird, so I think she would’ve been inspired by the color and shape and thought she could put the two together and it would be Met-worthy. So we took the bodice off and used the whole skirt to make it. It was a beautiful color, and the fabric was so great. Santiago: “That cape was originally a ballgown, something I got on The Real Real. We were playing around with ideas, we wanted there to be something she could incorporate with the wedding gown.” Craig Blankenhorn/Max And at one point we talked about maybe having a boot underneath, like a thigh-high boot with stones all over it. Santiago: “I wanted to take the bottom part off - because it’s two tiers - and make it really short. Rogers: “Well, you wanted to transform it so it wasn’t exactly the same dress, but everybody would recognize it.” Santiago: “But it showed up, and it was in good condition, and fit right into it! It hardly needed anything.” I think they were having to, you know, repair it.” Rogers: “I didn’t reach out – I had to stalk them, because they kept stalling. So Molly reached out to Vivienne Westwood, because it’s been quite a few years.” We didn’t know if it still existed, and we didn’t know what the condition of it was going to be. Santiago: “It was written in the script that that was what she was going to end up wearing, so we knew that we had to get it. Carrie’s wedding dress returns Craig Blankenhorn/Max Below, Rogers and Santiago share the stories behind a few of their favorites. “You’ll find that one thing that nobody else has,” Santiago chimed in, pointing to his favorite “Sex and the City”-era score - a green bustled Vivienne Westwood miniskirt worn by Carrie in Season 4 - as a prime example.Īnd the new episodes of “And Just Like That” are equally sprinkled with one-of-a-kind fashion finds.
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