by After 27 years, 94 episodes, a questionable restart of three and a pair of films that we prefer not to talk about, the “Hevhanded” final of the past week marked the last appearance of TVS best -dressed character: Carrie Bradshaw. As we say one last farewell, we asked Guardian Writers for the most memorable Carrie outfits for the newsletter this week.
I’ll start with …
The LGD | Season two, episode 15
Despite the Ott tulle dresses, the tie dye-Capris and ridiculous accessories (knee tights), it is the small black gray dress that it wears for the brunch that is most unforgettable for me.
After a disappointing night with Vaughn Wysel (Justin Theroux), Carrie appears out of her apartment, which is not down, but dizzy and knew that she has a story that will bring her gang to a Rocchen with laughter and cosmos.
I love how she could be seen as a classic dress with a date night dress to see her friends. The golden strap sandals, the Big Gucci -shaped shoulder bag, the typical name plates and the classic planes contribute to the self -confident atmosphere. In today’s world of conservative Tradwitern dressing, it is refreshing to see a single, thirty -year -old woman for herself. It is also a beautiful, converted bird for those who think that age should determine what you can wear and what is not.
The Stella McCartney Horse Print Hosen | Season four, episode 11
The early 2000s were a strange time when it came to what people were wearing. They had hipster jeans to reveal the Pob (Victoria Beckhams Bob) and these Capri pants that threaten to come back.
In contrast, sex and the city and especially Carrie seemed to be an adult world of aspiration in which people not only looked at clothing that was worn on the catwalk that they actually wore them. For me, nothing more said than these pants. The horse on the right leg was part of Stella McCartney’s last collection for Chloé and was typical of the playful absurdity that she had contributed to the French brand. The fact that they were on TV was perfect for the fashion -resistant figure we met, but it was also a brilliant wink from the costume designer Patricia Field to a fashion -loving audience that could identify the design.
I have never been lucky enough to have a couple to sell for more than £ 165, I was able to enjoy them again when Olivia Rodrigo 2023 was wearing a couple. And I managed to achieve another from McCartney’s animal-related offers through the outnetz: a few of cat fruits from their car/winter 2016 collection.
Lauren Cochrane, senior author, fashion
The transparent Cami and Jorts | Season five, episode 1
The fifth season gets a lot of flak: Sarah Jessica Parker was pregnant, so they only turned eight episodes. It also meant exchanging Carrie’s fond of coats and naked clothes for bump-having-baby-typical silhouettes and juicy couture. And there the splitting was short bob. But this was actually my favorite carrie during a recent Rewatch.
It includes Singledom. I adore the opening episode, the first post-9/11 when it is in NYC. She is also the most honest and talks about loneliness that it can happen if she can be herself. It feels like a layer of gear in the mid -1930s, so I have a weakness for these outfits outside of the character.
Perhaps it is the Heatwave of the past week to make this outfit swimming white cami, black bra, long jeans shorts, mesh heels, bandana, but I just think that it looks so cool (literally and tuned). Freedom screams – especially for someone who flows up daily. God bless the day I stopped worrying about my non -matching bra. In fact, I just bought a cami on Vinted, which I want to wear with a red agent provocateur bra, which deserves to be seen by everyone when the sun goes out again. The bandana and the mesh heels? With total respect I leave the gene Z.
Hollie Richardson, deputy TV editor
The cowboy hat and crop top | Season two, episode 17
This summer was perhaps the season of the Peak Cowboy fashion, but as always, Miss Bradshaw did it first (and let’s be honest). It is often Carrie’s clothes that get all the fame-the dior newspaper printing, the Oscar de la Renta Ball dress-but for me your two are just as noticeable. Throw this look from the Hamptons Beach Party in the penultimate episode of season Two: A Snakeskin Bandeau Top, a striped skirt and a cowboy hat at the top.
The effect is also a retro and hypermodern. There is a little 90s in skirt, but it also has the DNA of the modern festival uniform: skin -free separations, animal printing and of course the hat. I am still thinking about it when I get dressed for a festival. It is proof that non-matching textures and prints can achieve something fancier than a flawless moment of head-to-foot labels.
It is a shame that the scene that the fit has made is so devastating – Carrie sees Big with Natasha for the first time and runs down the beach in response to hand over. Nevertheless, she looked damn good.
Emma Loffhagen, acting Commission of editor, Saturday magazine
Vivienne Westwood Green Foil Minirock | Season four, episode nine
Carrie Bradshaw is the queen of styling details: reciprocal sandals with body conus dresses, bass plates with pants and sequin pockets with everything. Each look seems before the specific NYC background with a cherry on the upper styling kiss. But for me there is nothing comparable to the Vivienne Westwood Green Foil Minirock to his Playboy -Hasen ‘Tail’ Ruffle.
The classic white shirt, the simple chain chain and the red paragraphs should not work together. Red and green should never be seen! It’s not Christmas! But it works – of course. Classic with a turn is exactly what Carrie can do best.
Melanie Wilkinson, styling editor
The white dior slip dress | season two, episode 18
I worship the white dior revenge (word game intends) -es has everything: symbolism, edge (white! To a engagement ceremony!), A split, a transparent heel and a ridiculous bag. (Although I also enjoyed the Simone Rocha look in this series from AJLT).
Jenny Stevens, Deputy Features Editor
The Rosa cap sleeve dress | Season two, episode 18
At the end of the second season, Carrie hits great in an outfit that I have been able to reproduce for 18 years. A simple light pink wrap dress with barconer and a sparkling pink handbag. I remember that I saw the dress for the first time and saw a longing that was so intense that it was like physical pain. The next three years I spent stealing my mother’s meat -colored nights and trying to squeeze my huge feet into her wedding shoes.
At lunch, Carrie behaves badly – she screams when Big tells her that he marries his new girlfriend and runs out of the restaurant – her chaos somehow cut her glamor. I was 15 years old when I saw this scene for the first time, and Carrie looked like a femininity. She was cigarettes and heartache and screamed at her ex at lunch. I am now 33 years old, the same age as Carrie in this scene, but she still feels unattainable for me. I saw the scene again for the thousandth time last night and then spent 75 minutes to find a replica and sold it from a superfan. It arrives in a week, but I know from a bitter experience that I don’t look like Carrie in it. At 18 and 27 I bought a slightly different replica-pink carrie dress and again 31. Nevertheless, I live in the hope.
Kitty Drake, Guardian researcher
The tie cami and the printed skirt | Season two, episode 15
The top is Duck-Egg Blue and Purple Batik. A pepto-bismol-pink bra-top c is out below. The sky blue of the skirt is laced with a golden pressure and the bag is red with orange bouquets. Each of these prints alone would be a lot. But together I would argue that they are just enough; Her notes somehow find the sweetness of a Bluegrass-Harmonie dies is Patricia Field (long-time SATC costume designer) at the peak of her strength.
Carrie is not dressed for the family, she says. And it is not technically. Because wearing to meet the family – in this case of their current flame, the short story writers Vaughn would probably mean a little more withdrawn. Maybe she wouldn’t have decided on a Playboy rabbit chain? But that’s just one of the things that are so great about this outfit about the aesthetically pretty that I think. It is not necessarily what she would have chosen for this meeting, but it somehow works. Or maybe it just doesn’t matter because she greets so openly and sincerely, with LOX, an invitation to speak of one of Vaughn’s sisters in a seminar in Columbia about the cultural zeitgeist and a “Hey, ‘Sup”.
That was a revelation for me. Your ability to feel inappropriate and hugged and relaxed in the breast by previous strangers. It felt exciting because someone who was sometimes afraid of the idea of wearing an outfit that I did not want to wear in a certain situation, like in an old boss, who wears my Mosing-up-the-street-getup-a baggy t-shirt, a kind of jogging floors and birch sticks, for example. It sounds insane (and maybe it is), but I think part of it has to do with looking for clothes to give you confidence instead of feeling intrinsic. If someone who feels comfortable in their own skin wears the wrong time in the wrong time is a recipe for a sprinkle. Self -feeling should not be so fragile and yet it is sometimes it. When Carrie breaks it off, it felt really refreshing – even encourage. In addition, this episode has the line “no one who has still won a Pulitzer”, and that is also great.
Ellie Violet Bramley, freelance writer
The Prada-Co Order | Season four, episode 1
One of my favorite looks from Carrie Bradshaw must be the red Prada-Co-Order, which she wore for her 35th birthday. The outfit itself is exquisite and combines one of my favorite styling techniques, a monochrome fashion (I have blue and black Issey Miyake two pieces that I wear like a uniform) and strategic skin pollution: The top of the outfit is density, but it is structured and its mediocre is exposed.
But mostly I love this look because he speaks the experience of public humiliation and at the same time wears incredibly beautiful clothing. Nobody comes to Carrie’s birthday dinner and on her way home she drops her birthday cake on the street and shovels she shovels with cardboard shells while she is shouted at by construction workers. I remember that I once worn a viscose martine Rose suit and strut through the middle of Waterloo and stacked me so much that people came across to help me. I also divided myself into a huge match with an rude stranger on the tube, while I was wearing a Bode jacket where a donkey was sewn on my back with colorful cord. In my deception, I hope that witnesses thought: “He could embarrass himself, but he would never be caught dead in a bad outfit.”
Jason Okunday, deputy newsletter editor and writer
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