Carrie, Samantha, Charlotte, and Miranda were not stereotypes of women along the slut/prude spectrum but rather character juggling the complex mix of careers, sexual desires, and real friendships. Because of that, Darren was pleased I was thinking outside the typical Hollywood box.
I strayed a little too far out of the box when I turned to the part of the book with photos Irving Klaw took of Bettie for bondage catalogs. Bettie was a woman ahead of her time, just like Darren’s characters. Surveying the pinup bound in chains with shackles around her ankles and neck (and a fantastic little leopard bikini), or the one of her strung up with a ball gag between her perfectly painted red lips, Darren said, “That’s a little much.” I took the note. But it was clear that he appreciated my aesthetic considerations, even if this one took it a step too far.
Darren hired me on the strength of my vision for the characters and the fact that my store and personal history brought a lot of street cred for a show set in New York City. I still had to prove myself, however. Darren isn’t a suit-and-tie guy. He’s clean cut, with a typical uniform of sneakers, jeans, and a polo or T-shirt. His laid-back look doesn’t make him any less of a businessman. A showrunner’s job is multifaceted. You have to be creative, a strong manager, and good with numbers, whether it’s the production budget or viewers tuning in.
Darren had to oversee every element of the show—including the outfit I picked for Sarah Jessica in the show’s opening sequence, which was not an immediate thumbs-up. Darren is very smart and has great instincts, but when he saw the look I put together—the tiered white tutu, a body-conscious pink tank top, and neutral strappy high-heel sandals—he was incredulous.
“I don’t get it,” he said.
“This outfit is original, and inherent in the actress,” I said. “If this show’s a hit, the opening will be memorable and stay fresh.” I knew anything less would be dated by next season. People want to see what they haven’t seen before—not some trendy shift dress from Fall 199-whatever. From the opening credits to every single scene of the series, however long it might last, my overriding aim would be to make sure that while the clothes were expressive and helping to tell the story, they were never burnt with exposure.
“Who’s going to understand this girl, in New York, in a tutu?” Darren asked.
“It isn’t a tutu. It’s a tulle skirt,” I said. “It’s the princess syndrome.”
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