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On the set of And Just Like That this past summer. I don’t know about the boho look for Miranda.

I’m inspired as a costume designer by what I see young people doing. Either on the internet or standing right in front of me – street fashion.

Molly Rogers – American costume designer.

Ms. Rogers is currently working on the costumes for And Just Like That – the Sex and the City reboot due to air on HBO Max in December of this year.

Her past gigs include the television show Ugly Betty and the hit movie The Devil Wears Prada and she also worked closely with Patricia Field on the SATC series as well as both movies. Rogers had been working with Field since 1984 when she popped into the stylists’ shop and asked for a job.

Now she’s going solo with And Just Like That, as Field is busy working on Emily in Paris.

There are several Instagram accounts following the series production around NYC and providing us with a sneak peek at the costumes, which are getting mixed reviews.

As for the quote – there’s nothing better than street fashion IF you happen to live in a place like NYC or London or Pairs. People watching in such places offers amazing inspiration. But elsewhere there is little to no inspiring fashion to be found. So we have magazines, Instagram, and television shows like – And Just Like That.

I’m looking forward to indulging on some serious fashion candy come December.

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Image courtesy of the Fine Arts Museums of San Francisco.

On now at the de Young Museum in San Francisco is the West Coast premiere of Patrick Kelly: Runway of Love, a celebration of Mr. Kelly and his inspired fashions of the 1980s.

Black fashion designer Patrick Kelly (1954-1990) was known for combining whimsy with classic. His unique use of embellishment as well as a constant upbeat message in his designs attracted many. Originally from Mississippi, he moved to NYC to study fashion design and in 1979 he moved to Paris. There he had friends bop around the streets in his handmade jersey outfits adorned with buttons. These colorful ensembles caught the attention of French Elle magazine and voila, he was on his way to fashion stardom.

Image courtesy of the Fine Arts Museums of San Francisco.

I was not familiar with Mr. Kelly before hearing of this exhibit but I’m happy to have found him and now he is among my favorites. I appreciate his humor and references to fashion history; I see a touch of Schiparelli here and a pinch of Chanel there, but with a unique Kelly twist. There is something very charming about these designs – they are playful, fun, and yet still polished. He was a master at playing with sophisticated silhouettes by adding unexpected adornments like buttons, tassels, and dice. His use of buttons was inspired by his grandmother who, when he was a child, used to replace his lost buttons with whatever style and color she had on hand. That “outside the box” approach stuck with Mr. Kelly.

Runway of Love, curated by Laura L. Camerlengo, Associate Curator of Costume and Textile Arts at the Fine Arts Museum of San Francisco, is divided into four sections covering Mr. Kelly’s career from hand making knit jersey dresses in his early Paris days to his successful runway shows. One of the sections includes some of his personal collection of racist memorabilia, which served as inspiration for him in his designs. Although controversial in America at that time, his use of racist symbols was his way of controlling the charged images and that puts another interesting twist on his work.

In 1988 Mr. Kelly was the first American and first Black designer to be voted into the Chambre Syndicale du Pret-a-Porter des Couturiers et des Createurs de Mode, the prestigious French association for ready-to-wear designers. This was quite an honor and well deserved!

Patrick Kelly’s archive of fashions was given to the Philadelphia Museum of Art by Mr. Kelly’s business and life partner, Bjorn Amelan, who said that he spent years after Mr. Kelly’s early death of complications from AIDS in 1990, looking for the right home for the archive.

As well as 80 fully accessorized ensembles, the exhibit includes several videos of runway shows, sketches and art by the designer, and other ephemera.

From the 80s music in the background to the upbeat videos, from the buttons to the bright colors to the cultural references – I walked out of Patrick Kelly: Runway of Love uplifted and inspired. I can’t recommend this exhibit enough.

Patrick Kelly: Runway of Love at the de Young Museum now through April 24, 2022.

A few things to know before you go:

  1. Pack a mask! Masks are required on everyone, regardless of vaccination status.
  2. The Coat Room is closed; travel light and remember that backpacks must be hand held inside the museum.
  3. To allow for plenty of safe space in the galleries the tickets are timed, so it’s a good idea to book ahead.

And there’s more! Continue to explore Patrick Kelly with a series of panel discussions Wednesdays at 5pm: October 27th, November 3rd, March 30, April 23. Click here for the full scoop.

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PARIS, FRANCE – CIRCA 1988: Patrick Kelly at the Patrick Kelly Spring 1989 show circa 1988 in Paris, France. (Photo by PL Gould/IMAGES/Getty Images)

I just want my clothes to make you smile.

Patrick Kelly (1954-1990), American fashion designer.

Well, I think Mr. Kelly achieved that desire. His whimsical fashions definitely make me smile.

Tune in tomorrow for my two cents on Patrick Kelly: Runway of Love exhibition on now at the de Young Museum.

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Sandy Schreier is known for her collection of couture fashion that numbers over 15,000 items. The story goes that when she was a child growing up in Detroit her father worked in the fur department of a high end department store. Often he took his daughter to work where she made friends with the lady customers. Before long these wealthy ladies were gifting some of their used couture gowns and everyday wear to Ms. Schreier to play dress up. Well, even then she knew she was on to something and didn’t play with the clothing but instead kept it all safe, eventually storing everything she was given a spare room of the family home.

She continued collecting, later putting an ad in the paper looking for donations. Her collection is just that, a collection not a wardrobe. She says she considers the pieces like artwork and has never worn them.

Her collection includes pieces by Balenciaga, Schiaparelli, Chanel, Alexander McQueen, Adrian … all the biggies past and present.

In 2019 Pursuit of Fashion: The Sandy Schreier Collection at The Metropolitan Museum Costume Institute displayed 80 of the 165 pieces, which Ms. Schreier has promised to donate to the institute.

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Designs by Patrick Kelly, part of Patrick Kelly: Runway of Love at the de Young Museum, SF. Image courtesy of the Fine Arts Museums of San Francisco.

Save the date!! Patrick Kelly: Runway of Love opens at the de Young Museum on October 23, 2021 and runs though April 24, 2022.

Black fashion designer Patrick Kelly (1954-1990) was known for combining whimsy with classic. His unique use of embellishment as well as a constant upbeat message in his designs attracted many. Originally from Mississippi, he moved to NYC to study fashion design and in 1979 he moved to Paris. There he had friends bop around the streets in his handmade jersey outfits adorned with buttons. These colorful ensembles caught the attention of Elle magazine and voila, he was on his way to fashion stardom.

Patrick Kelly: Runway of Love was organized by the Philadelphia Museum of Art and includes 80 fully accessorized designs organized into sections that highlight the inspiration behind the designer’s work.

I can’t wait! How about you?

Check out the website and plan your visit. Note: Masks are required.

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Annabelle Wallis. Photo: Tom Munro

When I’m in a business meeting, there’s a strength that has to come in with me. I’m wearing a tailored jacket; I’m wearing jewelry … My mum has always said that the way you dress is also out of respect for the person who’s receiving you. So, if someone invites me to something or I go to an event, I make sure I’m arriving in respect of their gesture.

Annabelle Wallis, British actress and Cartier ambassador.

This quote is from an insert in Elle magazine, August 2021. A collaboration between Elle and Cartier, the insert is all about the iconic jewelry pieces, such as the Trinity ring and Panthere watch, designed by Cartier.

I always think about how I’m dressed when I attend a conference, attend a press preview, or when I interview someone in person. These are professional situations and I want to dress appropriately. I find that anything tailored makes me feel polished and presentable. Often I’ll wear one of my vintage tailored jackets with an added brooch on the lapel; the vintage aspect takes it out of the ordinary and the brooch gives the look a personal touch.

Ms. Wallis’ comment about dress and respect reminds me of a wedding that I went to years ago. It was a traditional wedding – the bride in a white wedding gown, the groom in a black tuxedo. The guests were dressed in their celebratory finest, except one guy. This guy, who showed up late, was not wearing his finest (I assume), but instead a short sleeve t-shirt, a pair of shorts, and … hiking boots! Talk about blatant lack of respect.

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The ladies of Sex and The City (1997-2003).

Yesterday ODFL featured a quote by Vogue columnist, Raven Smith in which he commented that he was less than impressed with Carrie Bradshaw’s fashion choices in And Just Like that, the HBO Max Sex and The City reboot. (Since the series started shooting around NYC in early July, Instagram has been flooded with images of Carrie, Miranda, and Charlotte in their new garb.)

Today I’m throwing in my two cents.

I have to say I agree with Mr. Smith. As far as we can tell, there’s not much spice to Carrie’s wardrobe in the reboot, although, I did think that Ms. Field, the previous costume designer for S&TC, sometimes went too far making Carrie look pretty raunchy in sheer, short, tight dresses or just plan ridiculous – big green bird as fascinator??? But still we all loved Carrie’s sense of fashion adventure. (I liked the earlier episodes best when Carrie mixed it up with interesting vintage pieces.)

Molly Rogers, the reboot costume designer, has a thing for boho; she’s got Carrie in a long 70s looking print dress and Miranda also sporting long flowy dresses with wedge shoes. (Has Miranda retired from her high-power lawyer job?) Not only is boho not really their style, the look just isn’t that interesting and it’s had its own reboot countless times. But Carrie is also sporting some fabulous platform heels, a la 1940s style. As for Charlotte, it appears that she has gone Carmen Miranda in loud color prints, off-the-shoulder blouses paired with tight skirts. What happened to her taste for preppy-chic? That’s a look that translates well for older women, which, ahem, she is and they are.

(I mentioned in yesterday’s post that Kim Cattrall is not returning as Samantha Jones.)

Mr. Big (Chris Noth) is back in his usual corporate suits. Stanford (Willie Garson) is also joining the gang and looking spiffy in bright colors. Aidan (John Corbett) returns as well but I haven’t seen any shots of him; I look forward to finding out if it’s going be the original pudgy, long-haired Aidan of Season Three or more the slimmed down short-hair Season Four version.

There’s no word yet when the new HBO Max series will air, but we do know there are 10 half hour episodes planned for the first season.

To see some of the costumes for And Just Like That check out andjustlikethatcloset on Instagram.

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The problem is there’s no Carrie in Carrie’s Looks. There’s lots of well-meaning, inoffensive ensembles, form-flattering moments, vaguely interesting shapes. There are pieces from Carrie’s original wardrobe—the baguette, the belt, the second proposal Manolos—but there’s none of the oddness, none of the archness. We can see the clothes but we can’t hear Carrie’s commentary, Carrie’s voice. I just see hanging fabric with no flavor; it feels like a light pencil drawing of an original Carrie print.

Raven Smith – Vogue columnist.

This quote is from Mr. Smith’s column on vogue.com.

Mr. Smith is speaking about the costumes for the character Carrie Bradshaw (played by Sarah Jessica Parker) in the Sex and the City HBO Max reboot, And Just Like That.

Carrie’s Fashion Adventure in Sex and The City, season six. (She wore this on the flight from NYC to Pairs.)

As soon as shooting for the reboot started in NYC in early July, social media was abuzz with quickly captured images of Carrie, Miranda (Cynthia Nixon), Charlotte (Kristin Davis) et al. on set. There was also carefully crafted PR by the production company including an official photo and a trailer. It had already been announced that Kim Cattrall as Samantha Jones would not be returning, nor would the original series (and the two films) costume designer, Patricia Field.

Ms. Field is busy making Lilly Collins look quirky in the Netflix series Emily in Paris, so she recommended her assistant Molly Rogers, who evidently worked closely with Ms. Field on the Sex and the City series and she was the main costumer on the Fox series, Star.

There we have the backstory. As for the quote, please tune in tomorrow for my two cents.

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Betye Saar, Harper’s Bazaar.

It seemed like the rule without it being a rule, starting with my sister and me when we were teenagers, that if you want something new to wear, then you had to make it. And I think that theme carried into our adult lives. Even if you find something, then you still take up a hem or add something to make it your own.

Betye Saar, American artist.

This quote is from a conversation with Ms. Saar and her three daughters in Harper’s Bazaar, May 2021.

Ms. Saar has been creating art since the early 1960s and she’s known for prints, collages, and installations that often include found objects.

Making your own clothes is very rewarding. First of all, it’s creative. Also, when you have taken the time and energy to make something you are much more invested in it. There’s no instant gratification, but instead a sense of accomplishment. The best part is that whatever you have created, it’s one of a kind.

I’m also a big fan of changing a new item in some small or big way to make it yours. I do that by changing buttons and I often add a brooch to hats as well as handbags. I also change things for practical reasons, such as taking up the hem on a dress or adding patch pockets to a cardigan sweater. (Who can stand a sweater without pockets?)

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One of two waterfalls at the National 9/11 Memorial.

I was living in Greenwich Village, in an apartment with a terrace that faced directly onto the Twin Towers. As I was on the phone, I saw the first plane go into the first tower. I immediately thought I’d witnessed an unimaginable accident. I was still on the phone, trying to comprehend what had happened, when the second plane went into the second tower. In that moment, I knew this was no accident but an act of terrorism. My phone went dead, and I dropped to my knees watching the aftermath.

Michael Kors, American fashion designer.

This quote is from Harper’s Bazaar, September 2021.

Tuesday, September 11, 2001was the fifth day of New York Fashion Week.

The National 9/11 Memorial Waterfall. In the distance behind the trees, is the Memorial Museum.

When I was in NYC in 2019 I visited the National 9/11 Memorial. Located at the rebuilt World Trade Center the memorial is in the center of a seven building complex, which includes the 9/11 Museum. Walking around we heard only the splashing sound of the two waterfalls built exactly where the Twin Towers once stood.

A somber place, meant for respect and reflection, it feels a world away from the hectic streets of the city.

Engraved in bronze along the edge of the waterfalls are the names of all the 9/11 victims and the six victims killed in the 1993 bombing; a total of 2983.

Among the seven buildings is the tallest building in America, One World Trade Center, AKA “Freedom Tower.” In 2014 Conde Nast, the publishers of Vogue magazine, relocated here from Times Square. I pulled out my phone to take a photo and was quickly admonished by a security guard.

No photos allowed.

Anxiety still abounds.

We then wandered into the Oculus, where, in complete contrast, we found the hustle-bustle of a food court and shops galore.

It took me a moment to adjust.

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