Bathing Culture Cosmic Rainbow towel. Laura Lombardi Strada gold-tone hoop earrings. Wellbe set of 7 washable cosmetic cloths. La Bouche Rouge refillable leather case.
Loewe Home Scents Cypress Balls scented candle, g. Nicola Fasano green spiral plate. Sea foral-print patchwork cotton blanket. Misette colorblock embroidered napkins. The Last Line candy glass champagne coupe in tide, set of 4. Off-White botanical stool. Theragun mini. Bala weight bangle set. Museum of Peace and Quiet green logo yoga mat. Anya Hindmarch Gym recycled-fibre canvas tote bag.
Givenchy 4g steel bottle with strap. Brooklinen slippers. Marloe Marloe scented candle. Nk Imode Dylan quilted short silk robe. Loup Charmant pack of 3 frilled cotton bloomer briefs. Carolina Herrera x Cabana Josefina fruit plate with gold rim. Dion Lee , Telfar, and Ludovic de Saint Sernin all do unisex clothes that are well cut and can lean toward a more masculine or feminine aesthetic, depending on the wearer.
Skirts are also being embraced by all genders, and labels like Chopova Lowena are styling them on men, women, and nonbinary folks. Sex, it seems, no longer matters in the quest to look chic. This freedom has helped me embrace my pull toward femininity. Twenty-nine years later, what I wear is starting to make me feel like myself again. Sign up for our weekly shopping newsletter, The Get!
That they can be misconstrued as docility, as submissiveness. But actually what they were doing was putting me into a box. Because society loves its boxes. Women, in particular, are often categorized as one thing or the other.
My personal epiphany came quite recently, when I was diagnosed with a chronic pain condition. About six months into this ineffectual, expensive journey, I realized I had to make myself less easy to dismiss. I had to challenge their pat answers, to go away and do my own research and confront them with my findings—it was only then that I achieved a diagnosis and treatment plan.
And yet in the end, I have seen results. I am, ultimately, listened to. I am taken more seriously. Beyond the patio of the photo studio, on the far West Side of Manhattan, the Hudson stretches clear and blue, One World Trade a glinting obelisk to the south. After a few moments, she decides that the dress needs an extra something, and she retires, along with the stylist Tabitha Simmons, to the wardrobe, to try on a number of whimsical hats, before settling on an enormous floppy number from Libertine, on which Simmons pins a few precious jeweled brooches from Kentshire and Fred Leighton.
The combination is kooky, but it works. It is, too, very Carrie. I am reminded of something the young designer Christopher John Rogers told me over the phone, when he recalled Parker wearing a design of his to the Forces of Fashion conference in It was slightly off, but she made it her own.
Fendi handbag. An hour later, Parker and crew caravan a few blocks east, to the corner of 23rd and Eighth, to take a few pictures on the street. Wearing another floppy Libertine hat, paired with a sparkly coat from the brand, a sheer, beaded Prada dress, and a mismatched pair of holographic SJP pumps, Parker walks from her car to a nearby crosswalk, whose length she strides again and again for the camera.
Very quickly, a crowd of pedestrians—mostly women, mostly in their 20s and 30s—begins to gather, and iPhones are whipped out to document the scene. There is something particularly moving, particularly nature-is-healing, New York—is—back—baby, about seeing Parker in her element, strutting down an NYC street like Elvis in Memphis, her hair flowing, swinging a lime-green sequined Fendi bag, as if no time has passed since the memorable SATC episode of 20 years ago, in which Carrie gets mugged for both her Manolos and her purple Baguette.
But, of course, time does pass. A week later, I speak to Parker on the phone. For a moment, she sounds on the verge of tears, but then she takes a long breath. I think about Willie and the show and how much we laughed. Set design, Julia Wagner.
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