“I’m as excited about the hits as I am about the misses,” Sarah Jessica Parker declared of Carrie Bradshaw’s often-debated, never-dull wardrobe during a panel for Sex and the City’s 25th anniversary earlier this month. And Just Like That… costume designers Molly Rogers and Danny Santiago tell Vanity Fair that they hold that same belief, not letting all of the feedback—positive or negative—influence their approach to the show’s second season. “I try to look forward,” Rogers declares. “Forward, forward, forward.”
Instead of dwelling on, say, that Forever 21 controversy from season one, Rogers and Santiago’s creative direction for season two was guided by And Just Like That…’s tonal reset, a return to the folly and frivolity of Sex and the City. “There’s a lot more fun, and there’s a lot more celebration, I feel, in season two than there was in season one,” Rogers says. “Because we were dealing with the death [of Big], the funeral, and the progression of Carrie. Now, she’s back to wanting to have fun. She’s dating more, and all the girls are out and about more.”
And there’s plenty of fashion-inspired fun to be had in And Just Like That…’s second season. A Birkin-inspired storyline harkens back to Samantha’s infamous season four episode involving Lucy Liu “and a Lucy lie.” Charlotte wages war against the Real Deal, a riff on designer fashion reseller the Real Real. But first, the joy is undoubtedly derived from the premiere episode, in which Carrie and the ladies cross a long-awaited fashion threshold with their attendance at the Met gala. Though it may seem like a no-brainer that TV’s resident trendsetter would attend fashion’s biggest night, Rogers and Santiago had no idea the episode had been a longtime aspiration for showrunner Michael Patrick King. “I never knew that was on his bucket list. We are so lucky that he got it in, and he got it in with us,” Rogers says.
The event’s “Veiled Beauty” theme—concocted by both King and Parker—led to punchy lines from Mario Cantone’s Anthony, who quips, “I’m a veiled threat” and gave parameters for the show’s costume designers.
It was scripted that Charlotte (Kristin Davis) would sport an equestrian-inspired ensemble “because she was going with her husband,” Rogers explains. “What’s he going to do? He’s not fashion-forward. He can’t go in something that somebody wild would go in. It’s Harry.”
The pair was allowed more freedom for Lisa Todd Wexley (Nicole Ari Parker). At Valentino Couture’s fall 2022 show on Rome’s Spanish steps, they saw the collection’s feather cage headpiece reminiscent of a veil. “[Valentino] recreated the dress that we had seen in the show,” Santiago says. They even extended the gown’s billowing train, “so, when she crossed the street, we had all that beautiful fabric just flowing in the wind.” The look also allowed for Lisa to utter an instant catchphrase: “It’s not crazy—it’s Valentino.”
When her planned outfit from an up-and-coming designer falls through last-minute, Carrie decides to repurpose the Vivienne Westwood wedding gown she nearly wore to marry Big in the 2008 Sex and the City movie. Recycling the dress also meant bringing back the controversial bird headpiece that came with it. “We pitched so many ways to put that bird on her head,” Rogers says with a laugh. Maybe it would shift to the middle of her forehead, channeling this photo of a society woman at Truman Capote’s Black and White Ball. Parker briefly entertained the idea of strapping it to her waist. “We got so deep into that rabbit hole,” Rogers says.
Although the designers were eager to let the bird spread its wings in a different direction “for Sarah Jessica and Michael Patrick King, it was really important that she place it where it was originally,” Rogers says. “So, we presented all these ideas, and it went back on like the day it was at the New York Library.”
Eagle-eyed viewers may notice more bird imagery among the show’s styles. In the season’s second episode, Carrie totes a bird-shaped handbag that’s been a fixture on the official AJLT costume Instagram for months.
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Rogers and Santiago hope fans will also notice “a real fashion-insider Easter egg” in the fifth episode, related to Carrie Bradshaw’s Halloween costume. Originally, she was going to dress as Audrey Hepburn (the women of Big Little Lies are shaking). Then, designers deemed that too safe a choice. “SJ wanted to do a New Yorker who was a little literary, and fashion [-minded],” Rogers explains. That outfit won’t be spoiled here, but the gold two-piece costume intentionally looks as if it was ripped straight from Carrie’s closet. As for the other looks? Here are a few increasingly wild clues: latex, Frankenstein-esque Balmain, our founding fathers, and a couple’s costume that implored the designers to watch FX’s The Americans. “That was a head-scratcher,” Rogers quips.
Later in the season, it’s been reported that Sex and the City’s original costume designer, Patricia Field, will make a brief return to outfit Kim Cattrall for her reprisal of Samantha Jones. And though there’s no official confirmation on that front, Rogers and Santiago promise fashion evolutions for Charlotte, who ventures back to the workplace, and Karen Pittman’s Nya, who is wading into the dating pool once more. “She’s a single woman now,” Santiago says. “She’s going out on dates. She gets dressed up more. She’s a little sexier.”
Then, there is the matter of Aidan, whose outfits in trailers and set photos show a man far from the denim-wearing, turquoise-ringed suitor of Sex and the City’s past. When it came to dressing an older and, perhaps, sartorially wiser Aidan, the team consulted with John Corbett himself. “The mood, the tone that he wanted to get across with his clothing was that it was lived-in and it was comfortable,” Rogers says. “Because he’s had a nice life. He lives in Virginia with his family. He has done well with his career. He travels a lot. And it was important to him to not be precious in his clothing. He wears a jean. It’s all comfortable, and it is under the radar.”
But Rogers won’t go so far as to label Aidan a purveyor of quiet luxury. “It’s not really stealth wealth,” she says, on the verge of divulging more just as our time runs out. Consider it one last tease for a series that’s always kept us guessing—and dressing.
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