April 27, 2017 @ 2:30 PM
In case you’re a little behind in your Insta-stalking, Carrie Dragshaw is everything that’s been missing from your feed.
Dan Clay’s popular account is exactly what it sounds like: an homage to Sex and the City’s sassy style icon, Carrie Bradshaw (in drag).
Clay (sorry, Dragshaw) copies Miss Bradshaw’s most iconic looks and posts side-by-side photos of both the HBO character and her drag queen counterpart—each comes with its own insightful Carrie-esque caption, of course.
It all began with a viral Halloween costume:
But soon, Dragshaw took on a life of her own…
“All the comments were so so kind, and I still had all these pictures left from our little West Village photo shoot, so I decided to keep it going for a bit,” Clay told HuffPost of his decision to extend Dragshaw's legacy. “I posted a few more pics, even trying to capture Carrie’s classic narration style. I always thought it would just sort of fade away―[but] it never did!”
“I love the idea that the pictures could brighten someone’s day,” Clay continued, “Life isn’t always rainbows and butterflies, and just this tiny opportunity to make someone smile—that’s reason enough to prance around the Plaza in imitation Dior. I especially love the idea that the captions could connect with people. There were moments in Sex and the City that were really empowering—preaching independence, self-confidence, friendship, and fabulosity. I really appreciate the opportunity, even on a small scale, to provide that kind of uplift and perspective.”
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Now I want to reduce Sex in the City to just the clothes. [MUSIC] The tutu in the opening credits! Okay. So, the tutu in the opening credits- Pat Field. We talked a lot about what this should be, thrilled that that was the decision we made. I would never wear myself personally, But it just became perfect for the opening credit cuz it's Yes. So. It's so good for the Surprising. Yeah The LA episode, the sheer tunic. Yeah, Pat and I worked a lot on that. This was I think a bathing suit actually from her store on 8th Street. Really? Which probably men wore better than I wore. [LAUGH] If you know what I'm talking about. I know what you mean. And I just- the minute I saw that we knew what we wanted to do with that. And because it was at the Playboy Mansion we thought where else is Kerry gonna wear that. I love this. The Chanel blouse. Yes. And pirate pants. Yeah, and I think what those were. What are they? I think they're like leggings. Yeah. I think they're leggings, scarf in the head and are those Gucci earrings, I can't, no I remember [CROSSTALK] Yes, this dress. The [UNKNOWN] dress. Yes, I knew when I saw this dress what I wanted it to be. And what I loved was that Michael Patrick knew how to shoot this dress. Eventually it was shot in that episode in a really long lens from the up the street, I think I'm crossing Park Avenue at one point in that dress, which I would never have the courage to do as me. [LAUGH] But when you're asked to play someone you find the courage to do all sorts of things you would never do. Then we brought that dress back for the first movie. Right. Which was impossible to get our hands on. Really? Like it took Huge amounts of research, digging, bribing. Because it went back to Galliano. There was only one? There was only one. Wow. Of this that fit me that was this dress. Yeah. The hot pants. Yeah, I think this was a lot of my idea. And on my feet are some Prada shoes. Weren't we on the roof? You were on the roof, yeah. Yeah, this was very hot that day. I also wanna ask about the signature flower. Yes. So when did you start the flower? I can't remember. Fairly early, I mean that was something that Pat and I both wanted. And the minute it showed itself in our heads. Uh-huh. It was like, that's. Going to be there for a while. That's gonna be something, and then we're gonna take it away. So that when you bring it back it's like a [SOUND]. So when we brought it back for the movie, the top of that first movie, she's walking across 57th street in that white dress and that big flower. Mm-hm. It's the size too that mattered on that. It was like, yes, yes. [LAUGH] But Pat was so good at giving and taking. Like she really understood how to tell stories with clothes. And how to create touchstones. So that's Pat's genius. So that's that flower, yes. Then your runway look. Yeah, so these pants were made by William Ivy Long. They were? This underwear, because I said to Pat, there's a guy on Broadway that does Showgirls better than anybody. I mean, he does everything beautifully. But he does that stuff really well. So he made those for us. He made those little sequin panties? He made the panties. Yeah. You don't see people doing that very often on television, do you? No, you don't. So this is an interesting thing. I think this says Allahu Akbar, which is really Interesting. Wow. Would you wouldn't wear today, right? The necklace? This is Arabic. Right, right. I wouldn't have known that the necklace was Arabic. That's interesting. At the time, I saw this necklace and I thought it was fantastic. Pat brought it in. I think I have a freaking earing hanging off the bandana even. [LAUGH] Maybe one too many things. [LAUGH] And these are white menaloponic pums which nobody was wearing at the time. So a vintage prom dress, Right. You know the blonic pums, scurf. Yeah. Yeah. That mixing and matching of the most desperate Right. Elements. And that part was really basically top the master Classin, like that was her her strength in lots of ways. Is there anything else? Yeah, I was pregnant with James [UNKNOWN], but no one knew it yet. Really? The skirt kept blowing up, and I kept vomiting. God. Every time they would be like changing the lens, I'd run back to the trailer and vomit. I had such bad morning sickness. Wow. I was so afraid that when my skirt blew up that you would see. No one knew at work. And there were paparazzi always everywhere. That's Paris. That was our first couple days in Paris. That's a sign of Riciello. I freaking love that. That whole period was just kind of idyllic. And then that was the dress we had absolutely no reason to use. Exactly. And Michael Patrick was like what do you mean? We'll find a way, please just don't say no. And Versace was that dress? It was Versace, it took four or five people to Help me even walk to the set. [LAUGH] And we shot it both in New York and in Paris. It had to work in both places cuz we were using an interior space and then we had to rebuild spaces. Yeah and she put on this impossible to wear dress for Alexander in the. [CROSSTALK] Is this the last one? Yeah. Ok. That is the last one. So was that, were you aware that, you were doing the finale and it was the last great dress that you- Yeah. Were going to pick out and that's what you picked. Yeah. We were all aware, we always took fittings really seriously. And they happened at all hours of the day and night, and often after at shooting at two in the morning for three and a half hours, you'd be fitting. But I would do anything for Pat, I would try anything on. But those last two episodes in Paris became monumental for us, and every outfit spoke volumes, and said more than we can say in words. And Every shoe, every earring, every bag. You pick a shoe and you don't care what you're gonna ask yourself to do in it. You just do it. And when she's running around the Place de Concorde in Paris and missing Big, you know that whole thing, the sequence, toward the end of the Paris stuff and she's running, she's left Misha Those were really tiny, tiny shoes and the Place de la Concorde is all cobblestones. And it was wet and freezing, it was February. And we found some tape and we just started taping my shoes on me so they wouldn't fall off. And if you ever see images, you can see The foot is wrap in tape just to keep that shoes on so we can just keep running, it was just so cool. Amazing. I will do all all over again.