Happy Clothes: A Film About Patricia Field (2023) Movie Script

1
[echoing bubbles, drips]

Just another loose cannon
in a strange war
Tense up, panic,
and I had a little anx, sure
Is it manic how my damage
from the wave or
Just another stain
on a stage floor
Aim for more block, more grip,
strongest... backwards
I'm sure this isn't
what I planned, damn, kid
Where's the landin',
I need groundin' quick
This life's got me sick,
I try, try, resist
She said
I was a drugged-up fool
And they taught me to relax,
this ain't cool
Gone too far by now,
what's the deal
Please chill, I've been
greased since school
Now better, no doubt
I'm just figuring
my own out
Goin' round town
like living's all a job now
Will I ever understand
Will I ever really get here,
forget here?
I'm fine,
I'm right, I'm wrong
I'm tired, I'm wide awake,
what's going on
Mind gone,
try harder, try harder
Will I ever understand,
will I ever really get it?
Forget it, I'm fine,
I'm right, I'm wrong
I'm tired, I'm wide awake,
what's going on?
By God, try harder,
I'll try harder
I'm in over my head.
All of a sudden,
I became this famous person.
I mean, I work and enjoy
the work for years,
but somehow
recognition found me.
[sighing]
And in a certain way...
I'm a little...
nervous about it.
You know, how it is.
They love you, they hate you,
they love you, they hate you.
And I don't really
play to that-- those tunes.
You know what I mean?
I find it distracting.
I just love to do what I do
in peace,
and in, you know,
creative happiness.
[car horn honking]
- Hi!
- Hi, Pat!
We have gifts.
Thanks for grabbing
the food, guys.
- NADIA: Yeah, of course.
- I'm glad everybody's on it.
NADIA: We're so on it.
We're like...
- wine.
- Vino.
Chianti, your favorite.
Of course.
She was worried
she didn't have enough wine.
PAT: I like
your combination.
It's down my alley.
The mix match--
right, Tracy?
- Nadia looks cute today, right?
- ERICA: Yeah, she does.
Didn't I tell you
that earlier?
NADIA: I like mixing
patterns, I like--
I never knew that about you.
- TRACY: Me either.
- ERICA: Me either.
None of us knew that
about you.
NADIA: I love...
I can't really explain it
in words, but sometimes
you just see it.
And you just know when it works,
- I can't--
- PAT: I can explain it.
Would you like
the explanation?
- Please explain it.
- PAT: It's the color.
It could be
different colors,
but they have to be
happy together.
As long as
the colors work together,
you could fuck around
with the patterns.
- NADIA: Exactly.
- That's the trick.
[chuckling]
- TRACY: Squid?
- NADIA: No, thanks.
So, anyway,
"Emily in Paris."
Four months is a really long
time to be away from home.
- TRACY: Yeah.
- I was ready to come back.
- NADIA: Yeah.
- ERICA: Absolutely.
I was ready to move there
when I visited you guys.
Yeah, but you were there
for a few days.
You should have came, Tracy.
- You were...
- PAT: I had...
- Missed?
- ...a three-bedroom apartment.
- Huge.
- Yeah, it was...
And where were you, Erica?
- I had my own apartment.
- She had her own apartment.
- Did you visit her?
- Oh, yeah.
- I spent the night there.
- That was cool.
Sleepover. Girls' night.
- She definitely did.
- News to me.
You didn't realize she didn't
come home one night?
Pat wasn't checking for you.
I was just checking her room,
which was always upside down.
[laughter]
On to the next one.
So, "Run the World," season two.
- Season two.
- Season two.
I feel good that you guys
are here.
But it don't stop
till the morning light
Na, na
"Run the World" was originally
pitched to me
as a Black girl
"Sex and the City."
MAN: It's about close-knit
girlfriends living in Harlem,
striving for world domination.
I've never worked
with Black girls,
and I grew up with Black girls,
and now I'm going to do it.
I was really happy.
This is a really great season
for us to revamp
all of the girls' styles
because everybody is changing
from what they were
from season one to season two.
How are they changing?
In season one,
Whitney was this uptight,
wants everything to be perfect.
And in season two,
her whole life is falling apart.
In one of these scenes,
she's dressed in a suit.
Her hair is all perfect.
And she's looking at herself
in a reflection,
and she just doesn't like
who she's looking at anymore.
- This is Whitney.
- She would have loved something
like this for that scene,
something kind of uptight.
And that's when she comes out.
She's kind of like
a new woman.
- Then she's wearing braids.
- Wearing braids and...
- Getting tattoos.
- And getting tattoos.
A breakdown.
She's in pieces now.
Exactly. Then we have Sondi,
who had this, like,
idea of family
and being a stepmom,
and school.
And now in season two,
she can't be the stepmom
that she wants,
and she's pulling away
from Matthew
and focusing on
her professional life.
I'm very happy to make Sondi
a little sexier and not so....
Definitely like an elevation
from last season.
I really love those pants
that you have,
those high-waisted ones.
She would like this.
- Rene?
- Sondi.
I don't know. I feel like
the crisscross cutouts,
that feels like Rene territory.
I don't think the color
looks Rene.
That's what I see first.
Then we have Rene
in season one
wanted to like just
climb the ladder.
And in season two,
she's building her own business
and she's breaking the ladder.
- Yeah, yeah.
- This would be Rene.
PATRICIA: I thought
it was more cropped.
Oh, cropped. So, was it this?
- Oh, yes, this.
- PATRICIA: Yeah, it was that.
These were like
exclusive Manolos.
They sparkle just like Lurex
and a nice Balenciaga bag,
their kind of 'it" bag.
It's a downtown girl bag.
But I thought the one-off,
it's like $1,000,800.
I think we should
totally buy it.
$1,800 is a lot for a bag.
And I love that bag.
But it don't stop
till the morning light
Na, na
Jesus, you're the most
anticipated arrival.
You're like
the Queen of England.
- How are you, my love?
- I'm fine. How are you?
Let me get the door for you.
Good. You're going to find
this is a fun thing.
Oh, yeah. Can't wait.
Rebecca Paley is the
co-author of Pat's memoir.
Although Pat doesn't like
to call it a memoir.
It's not a memoir.
A memoir's too final for me.
So I've been talking
to a million people
for the book for you.
And I've been getting
the dirt.
- Oh, good. You mean my people?
- Your people.
I don't know.
An autobiography or....
I think it's just a book
about Planet Pat.
Planet Pat.
This is so huge.
It's like a vintage war zone.
What is it exactly
you're looking for?
I'm not looking
for anything exactly.
Just whatever my eyes see.
- I love these.
- Yeah, I love those.
Those caught my eye. Boom!
- What do you like about those?
- I like the design.
- It's eye-catching.
- Yeah.
You have to relate it
to the character.
Any specific character
or just like any of the women?
I don't know.
I can see it for Rene.
I can see it for Sondi.
Can I take a picture?
Why not?
- [shutter clicks]
- So many things.
I think they're busy
because I like this fish.
I'm sorry to bother you.
Could I see other things?
So we want to take those.
- [shutter clicks]
- Thank you so much.
- What do you think?
- I think it's expensive.
It's cute. It's a fish.
Alright. That's amazing.
- Is that for you?
- It's for the show.
Oh.
I don't have room for this shit.
[laughs]
[chattering]
But I like this for Whitney.
You know,
I'm in a good position
'cause I have so many
talented people around me.
Yeah.
My graduate school
of costume design.
Your stable.
Kids that I hired
from my store.
Tracy. Molly.
Paolo you interviewed.
- Yeah.
- JoJo.
Well, he's...He never graduated.
He still has
a few credits left?
Yeah.
Is this too weird?
Where's Trace?
Oh, yeah, I love that.
- Right.
- Beautiful.
I love this
little striped gown.
- What do you like about that?
- It's eye-catching.
- It's a good price, too.
- You say eye-catching.
- But what does that mean?
- It's cute.
The camera has to see it,
you know?
You gotta catch my eye. Boom!
- I don't know. I like it.
- Okay.
Oh, my God.
It's kind of big,
but that's
what I like about it.
- Yeah.
- I'm an exaggeration queen.
Yeah. [laughs]
Because I learned
from my store.
It's about the visual.
Eye-catching.
So I tend to push it.
When I graduated from college,
I took a job with Alexander's
department store,
and I see these blouses
wrapped up like meat in plastic,
laying there flat
on a table, wrinkled.
So I bought these bust forms.
I pressed these blouses.
All of a sudden,
I see these executives
coming down to my department.
I'm like,
"Oh, what do they want?"
"Well, we just
came down to see
why the blouse business
is hopping."
I told them because now people
could see them say
"Yes, that's gorgeous.
I want that."
- Do you remember this?
- Yeah, I remember those.
House of Field.
I found these
at an estate sale.
And this boy put it on,
balls out.
- Isn't it cool?
- Yeah. I love it.
Do you still have these
in your archives?
I don't have archives.
I just gotta move on.
Yeah.
I think you should
have it back.
Thank you.
That's so sweet of you.
- A return home.
- And history is made.
Hi, baby.
Well, I'm glad you're here.
I'm glad there was a reunion.
- Thank you.
- Bye.
Bye. Thank you.
Now, you wouldn't do those
with the pearl necklace.
Too matchy-matchy, right?
Too overstated.
You got to go to the edge of
the mountain but not jump off.
Is that too vintage-y? Okay.
- I would never do that.
- That's insane.
Get outta here.
That's when people
were having fun.
Exactly.
Today, the fashion
is so depressing.
Pat, this girl
has my price point.
- What do you think of this?
- I like it if it's belted.
It could be any color
in this print.
I don't have a waist.
But you can make a waist
with a belt.
Make it it's high enough?
Yeah. You know,
wherever your waist is.
I really don't understand
how you pick things.
Like, I never would have....
It's going to go
in a particular scene.
Okay.
What scene is that going in?
- What do you like about that?
- It's well designed.
You know, it's special.
How can you tell
it's well designed?
- Could we hold this?
- Sure.
I've been coming into your store
since the 90s.
- Hotel Venus.
- Did you buy anything from...
What did you buy
from Hotel Venus?
I got JNCO pants.
- They're classic.
- Yeah.
- They don't die.
- No, they don't die.
- I like clothes that don't die.
- Yeah.
So you don't know who this
will be for, but you'll just--
Bang!
[chattering]
Hi. Welcome to my gallery.
And this is a relatively
new idea that I had
when I finally sold
my Bowery store.
I didn't want to disconnect
myself from my clients
and all the creative people
that I worked with.
So I thought, "Oh, I'm going to
open up a little art gallery
and bring in
one-of-a-kind designers."
I call it
an ARTFashion Gallery.
Done, done and done.
So I can mail these all off.
- Hey, guys.
- Hey, Rebecca.
- How are you?
- Good. How are you?
Just doing some work.
Yeah, when we do
three jobs at once.
Moving along with the book.
- Sorry. I'm gonna just...
- I'll just put myself here.
Yeah. Enjoy yourself
wherever you want to go.
Did you get the dress
in the end?
I did get the dress,
but you are going to have
to style it for me.
- You don't own a belt?
- Don't say it like that.
I styled it for you.
Now you're asking me
to style it for you again.
I really do want to wear belts.
I feel I look terrible in them.
Well, your feelings
are incorrect.
You do not look terrible
in them.
Okay, but I don't feel
that this is small enough.
So then don't wear a belt.
I want you to be happy,
first of all.
No, I want to wear a belt.
I'm not ready yet.
Kate read our first stab
at the manuscript,
and she had some
high-level questions.
What are we looking at?
What is the point of all this?
You have a saying. You say,
"I live in my own world
of pretty pictures."
Is it that you actively create
that world for yourself?
- I like happy clothes.
- Mm-hmm.
How come?
Because I like happy.
I don't like miserable.
I could never do a war movie
or a vampire movie
or some kind of murder
and blood.
What if it was
a fashion vampire comedy?
Well, if you write it,
I'll read it.
So, um, just wanted to do
a little more
"Emily in Paris,"
the beginning.
Do you remember
your first thoughts?
For me, the main challenge
with doing a production in Paris
to start a wardrobe department,
a team,
a location,
because I didn't know my way
around Paris to that degree.
I needed to anchor
into somebody.
The French production sent us,
what, maybe a dozen rsums
of French costume designers.
We had literally, like,
two weeks to interview somebody
and then, like, jump on a plane.
- Wow.
- The glamour of Hollywood.
Every little movement
Every little thing you do
Is it sleight of hand
that commands my heart...
PATRICIA: And, you know,
we landed on the one
- that was the most...
- Oui.
...experienced, organized.
I just like to understand so
going forward.
We worked together,
but she didn't like it.
The pale jumper.
She said it's too pale.
- That was a fitting photo.
- Yeah, it's a fitting photo
that we did together
on the day of...
Okay. Okay.
Thank you for reminding me.
Marylin is the designer
of "Emily in Paris."
I'm just the ornamentation.
Pat's official title
is consulting costume designer.
I made that position up.
It's the most amazing
job ever.
There's still
a costume designer on set,
so if anything goes wrong,
it's still on them.
But Pat really does make sure
that the character, tone,
and style is set
and that it's continued on
and consistent.
But she has the ability to
come in and out as she pleases.
But a lot of times designers
find it a threat.
- Hmm.
- And I'm not threatening.
- Hmm.
- But I don't know.
Maybe it wasn't
such a good idea.
The character of Emily,
what were you going for
with this character?
When I look at Lily,
I see Audrey Hepburn,
wide-eyed from Chicago.
She gives you a young energy.
You have to go
with the natural components
of the human being.
She's also professional.
I took all of that, I believe.
I'm thinking about it.
I don't know if I did it
subconsciously or not
into the creation
of this character.
You know,
there are so many versions
of what that Midwest girl
going to Paris could look like.
And so I flew to New York
for one night,
and I wore these
leopard pants for Pat.
And she, with her
bright red hair, embraced me.
And she's like,
"God, those pants are cool."
I was like, "Oh,
I feel like I'm winning.
I feel like I'm winning."
And there was just
racks and racks of clothes.
And instead of Pat saying,
"This is what I'm thinking,
go try this,"
it was, I don't know,
"just pick what you like
and what resonates with you."
There was a bunch of shoes
and she's like,
"Is she a heels-wearing girl?"
Does she wear stilettos,
does she wear wedges,
does she wear flats
or sneakers or Doc Martens?"
I was expecting to be told
what to do and what to wear,
whereas instead I was asked.
And I was really surprised
because someone who's had
a store for 50 years,
someone who
is so respected and esteemed
and could so easily not be
the collaborator that she is
was exactly the opposite
of what I expected.
This was the first season.
Both of you take a look
and see if there's anything
that speaks to you.
PATRICIA: See, like, she was
going to Paris and she had on...
I was a little worried
that it was clich,
but I was okay with it.
We bought that from Saks.
You said intentionally clich.
- Yeah, it was intentional.
- It's like a joke.
- Yeah.
- It's like an inside joke.
It's from the clearance rack.
And then you pair it...
That's a very unexpected skirt.
- Yeah.
- But the colors are the same.
Yeah.
They're just a different
mumbo-jumbo.
We found that hat
in one of Pat's favorite
vintage stores in Paris.
- Babalou in Les Puces.
- Is that the Chanel?
Yeah. That's when Pat
got a kick out of herself.
Yeah, we took Chanel and turned
it into a jogging shirt.
And she was like, "This is
how you mix high and low."
Remember these boots?
She didn't want to wear them
'cause they were cutting her
in the wrong place.
And then you added
a chain around it.
She thought it was cutting
on the wrong place on her leg,
and it looked not good?
Well, I never really found out
the right place on her leg.
Season one,
we were trying to pinpoint,
like, what is Emily's tutu?
Just like that tutu really spoke
to who Carrie Bradshaw was,
and Pat had her phone
with a chain
and this like massive vintage
camera-looking phone case,
and you can't not see it.
Of course, Darren Star
has the final say.
The first time I met Pat
was when she came in
to talk to me
about doing the costumes
for "Sex and the City."
We totally respect each other,
trust each other.
And I'm not gonna lie.
We kind of had to fight
to get it in the show
because when Darren originally
saw it, he wasn't so sure.
And I thought, no, it doesn't
make sense to me.
It's a phone cover. Of course
she just ignored me and...
[laughs] and she was right.
You know,
it looks French cinema,
and I think Pat just
instinctively got that.
PATRICIA: I admire Darren.
He's a sane,
sound, rational person.
PATRICIA: It was very important
for me for season two
not to repeat season one.
In season one, we used
a lot of black and white
and I didn't want
to do that anymore.
I love color.
People need color these days.
I like combinations
that are not typical
but that are interesting.
And, of course,
Emily is a colorful character.
I like to keep her that way
and show our audience
some new ideas.
For example,
the bucket hat was season one.
For season two,
I want to introduce these gloves
that I personally
enjoy wearing.
This is I hope
the new bucket hat.
She has a glove fetish.
Pat has a glove fetish,
and she was very, like,
season two, fingerless gloves.
And I'm like, "You go."
PATRICIA: I wanted to try them
on Emily.
But gloves
are from a bygone time,
and today
the only reason we wear gloves
is to stay warm when it's cold.
Practical, practical.
You know, I'm not so practical.
So I send an mail to
a glove designer from New York.
Seymoure Gloves is a company
that I started in May of 2020.
I got an email that said,
"Patricia Field is looking
for gloves for 'Emily in Paris.'
Can you make some for her?"
And she needs them next week.
- I said, "Yes, I can."
- [groans]

I did a couple of extra colors,
and they were fantastic
and they fit perfect.
But it was fast.
It was a fast turnaround.
It's basically
a little driving glove.
More modern, not vintage,
little fingers are out.
You know, the gals are very
into their nails these days,
so this works for the nail.
I said to Pat,
"I'd really like the opportunity
to create
a capsule collection with you."
You would be able to identify it
as Patricia Field Seymoure.
And she said, "Let's do it."

I think you
dress her perfectly.
Like, what you put on her,
it really speaks
to the character.
Look at the belt.
[laughs] Stop it.
The second season,
the designer decided
that she was going to dress
the French woman.
I said okay.
C'est la vie.
[speaking French]
PATRICIA:
But give the devil their due.
That last episode of season two
at the Versailles...
Amazing.
PATRICIA: She really worked
her ass off on that episode.
Yeah, everything
was like custom-made.
She really went
balls to the walls on that.
Yeah, like, fuck it.
I want it to look like
Marie Antoinette at Versailles,
because the theme
was shapewear
and how to combine it
with Versailles.
So Marylin said,
"Why don't we do the hoops?"
- The hoop skirts.
- Not the skirts.
- Oh.
- The hoops.
And put the bodysuits underneath
'cause you can see them.
It's open framework.
You could see through it.
["Habanera" from "Carmen"
playing]
Do we know where we're going?
I don't know.
We have to go up
in the elevator.
- [elevator dings]
- Six weeks there last summer.
[chattering, indistinct]
John. Pat.
- How are you?
- I'm good.
Nice to see you.
I love your twist on men.
I love it.
Thank you.
Yeah. I owe you a dinner.
I haven't called you back.
I've been so busy.
That's good.
Long as you're young
and you have the energy.
Me, my "busy" is starting
to catch up to me.
Yeah, but you're
not going to stop.
What is being Greek
mean to you?
It's being connected
to ancient history.
I can think in terms
of thousands of years.
I will always remember
the first time
we went to Plomari
and we went to the town hall.
Oh, with the ledgers.
Looking for my grandfather.
It was so emotional,
the way your grandfather
came to the United States.
In the late 1800s.
- And he went to the war.
- Yeah.
So he could go register
as an American citizen.
And then he went back to Greece.
He married my grandmother.
And the kids and your mother
were born in Lesbos?
Lesbos.
And you speak Greek?
I learned that
from my grandmother.
My grandmother was
an aristocratic type,
but she married my grandfather
who was an industrious,
smart one.
Every time he had a kid,
he went and registered them
in the American Consulate.
- Smart.
- He was smart.
So when my family came here...
they all had
American passports.
Yes!
They just sailed
right through.

My mother was
in the dry-cleaning business
in Manhattan.
And she was very proud
of her business.
And I used to always go there
from school and hang out.
I was surrounded by love.
My mother, my grandmother,
my young aunts.
I used to run around
with them shopping.
She bop, he bop, we bop
I had opinions
about what I wanted to wear.
And it wasn't poufy dresses.
You know, I wasn't the kind
of girl that played with dolls.
But my cowgirl outfit
and a holster.
Pop, pop!
[laughs] I wouldn't take it off.
I loved it.
Be pop, be pop, a lu she bop
[singsongy]
I'm dying for a cigarette.
My sister and I are very,
very different.
Maybe I was a little bit
of a tomboy.
My sister was much more coddled.
Well, she walked in while
this girl and I were in bed.
She bop, he bop, we bop
And she went and told my mother.
She put my mother on the spot.
I knew my mother very well.
She didn't really want
to confront me with it,
and I lied,
and I got her off the hook.
How many times have you been
in love in your life?
I guess three.
Jo Ann I met in the '60s,
and then who came next?
- Barbara Dente.
- Oh, yeah.
- Rebecca was after Barbara.
- Yeah.
And the third one was Rebecca,
who was like a trip.
Pat was the love of my life.
I mean, the love of my 20s.
It was the most extraordinary
love affair one could have.
A trip that I was having fun
traveling on.
[techno playing]
It was 1989.
I was 19 and she was 48.
I was working at the Underground
as a go-go dancer.
I don't know what happened,
but there she was.
Beautiful legs
and beautiful breasts,
her thick hair.
Those black Greek olive eyes
held me
and I was mesmerized.
I summoned her over to my box
and I asked her point blank,
"Would you like to go
to dinner with me?"
And she said, "Sure."
That's when I fell in love
with her.
You know what they say
about women.
You know, first date, clubbing.
Second date, U-Haul.
We hosted a lot
at the loft on Eighth Street.
You know, she was the chef
and I was the sous chef
for all our extended friends
and family
where they didn't
have homes to go to.
They didn't have
embracing parents
that accepted them
for being a drag queen,
a hustler, a drug dealer,
whatever, a nightclub person.
That really rooted me.
And I learned how to be
a better friend,
how to be a better lover,
how to be a better mother.
Life lessons that my own parents
weren't able to teach me,
she taught me.
You know, when I would say,
"Let's have kids,"
she'd say, "You are my kid."
I didn't know
how to change and grow
and stay in that relationship.
I was always going to be
the young one.
That's when I knew
it was just time to go.
We were together about 11 years.
I wanted that relationship
like life. I really did.
I wanted it for life.
An incredible story.

[laughter]
David and I, we went all over
the place doing Payless Shoes.
A few years
of really good gig.
People would come up to me
and say "I'm wearing Payless."
When we were in Puerto Rico,
Pat put the model
in this leopard skirt
and a safari jungle top.
But Ceci was like
"Those two prints, they clash."
And then Pat was like,
"Haven't you ever seen a leopard
walk through the jungle?"
- [laughter]
- It is in the commercial.
That's a quintessential
Pat Field story.
People ask her about color,
she's like,
"Have you ever looked
at a bowl of fruit?"
Yeah, because orange
doesn't go with red.
Well, apples go with oranges.
[laughter]
Laverne Cox did a whole tour
of the gallery for "Vogue,"
and there's a cute
little mention of you
and stuff in there.
I didn't know
she worked at Pat's store.
Oh, yeah, she says that.
How long did you work
at Pat's store?
I would say, like,
about a year.
It was the most exciting time.
You had some pretty individuals
working in that store.
Talented and gorgeous.
Talented and gorgeous.
First gorgeous
and then talented.
But they if come like gorgeous,
you know they're talented.
- At something.
- Yeah, they're creative.
They're artistic.

Why do you like to shop
at Patricia Field?
'Cause it's unique,
exotic, erotic.
Everything's different.
You don't see this everywhere.
Tell me what you think about
the anti-Reagan campaign.
It's probably the only store
in New York doing it,
so it's pretty brave
for anybody to do.
When I first went into business,
I really wasn't thinking in
any way that I'm thinking now,
Now 1984.
1966, when I first
went into my own business,
I was 22 years old.
Just two different times,
two different worlds,
two different ages for me.
What's here today is simply
an evolvement of all that time.
It's funky.
But there must also be
some sort of fashion sense.
I mean,
you're looking for trends,
you know,
what's in and what's out.
No, I'm not doing that.
That's not the way
the process operates.
Macy's looks for trends.
Companies that mass merchandise
look for trends
because that's what their
marketing system is about.
We don't look for trends.
We create them.
Like these T-shirts.
I bought them from the artist
himself at his opening.
This is the only other store
I've ever seen them in.
And that makes it
kind of unique.
In the back, we had this
whole Keith Haring T-shirt wall.
We were filling orders for him,
selling to Japan,
selling to England, bulk.
In '85, he painted
the Free South Africa glass
in the front of the store.
It just created such a buzz.
Jean-Michel Basquiat loved Pat,
and he had these postcards.
Just scribbled on them
and sell them for 10 bucks.
Whatever it was,
she would support him.
And I would be like,
"Why are you paying for that?
That's junk, girl." Like, hello.
"I could do something better."
"Well, then do it!" Stupid me.
I started working for Pat
when I was 17 years old,
coming down
from the Bronx to the Village
to find what I was told
would be people like me.
I had no idea
how fortunate I was
hanging out with Keith Haring
or Jean-Michel Basquiat.
Like, you don't think all this
is special and it's historic.
You're living your life.
And we were enjoying it.
Those lips
are meant for walking.
[laughs, smacks lips]
It's really fun.
It's like a nightclub
in the daytime and stuff.
And, of course,
I live in nightclubs.
I'm an entertainer and, you
know--and that's what it is.
It's amazing that I'm up
this early in the daytime.
The makeup is really great.
And because you can put on
as much you want
with great lighting.
But, you know,
the clothes are another thing.
I can't afford the clothes.
But the makeup
and the accessories
like the fake diamonds
and stuff,
which are really,
really wonderful.
It's 1987. I'm in New York
to make a lot of money.
I was a North Carolina girl,
and Pat's store,
you can ask any young New Yorker
from that time.
I'm going to walk
over to Pat's now.
I just came from there.
It was the epicenter
of everything.
It was our iPhone.
You stopped by to find out
what was going on in town.
[chattering, indistinct]
Pat's got a cigarette
hanging out of her mouth
and a cat named Kitty Boy.
I was intimidated
and excited and thrilled,
and something just felt
incredibly magical.
I came in '84,
and I probably left in '89.
That's a long stint.
Amanda Lepore
worked at Pat Field.
Mona Foot worked
at Patricia Field.
Joey Roland worked
at Pat Field.
Danna Davis. Candace Kane.
Perfidia.
I started working
at Pat's store in 1985.
And that was a wild time.
And I stayed there
for 13 years.
In the '80s,
it was pretty exciting
to work at a store
where you could be openly gay,
openly trans,
dress up like Adam Ant for work
if you wanted to.
She just encouraged that.
She always tried to find
what your special niche was.
And since I was floundering
in menswear,
she said, "Since you're
a drag queen at Boy Bar,
why don't you work
in the makeup department?"
I went from T-shirt boy
to my own department
in this wig salon,
which was a huge part
of the store.
Varla Jean Merman's got
these two red ones here,
and Anita Cocktail's
wearing that pink one.
I sold the "Perfidia" look
to everybody,
and it became
the biggest department
next to maybe lingerie.
- The Perfidia Museum?
- Yes, the Museum.
I got fired a couple of times.
I don't think
you were really anyone
unless Pat kicked you out.
I was there 13 years,
the longest-running employee
to not be fired intermittently.
Money, money
I just can't get enough
Da da da da
I just can't get enough
Molly Field.
Pat created an environment
in her store
that welcomed and accepted
misfits or black sheep.
Perfidia Field.
Which we all were.
We were all doing drugs,
stripping on the side,
whatever.
She was the den mother.
Father of the House of Field,
diva Patricia Field.
But it feels so good
Pat saw the potential
in all these extremely creative,
artistic people
that had no outlet.
That's Pat's DNA.
It's all about the money
Grace Jones was in the store
all the time.
Deborah Harry, a huge friend.
Deee-Lite, RuPaul,
before they were famous.
Some of my best memories
are Carol Channing showing up
in her sailor suit
and buying three white wigs.
Someone asking for eye shadow
and I turn around
and it's Lena Horne.
I told someone that these
shoes are really expensive
and they look up
and it's Cyndi Lauper,
and she's like,
"I can afford it."
Farrah Fawcett
goes over to the T-shirts
and takes the whole chunk
of Charlie's Angels shirts
and puts them
on the counter and says,
"You're not licensed
to have this."
And then
she lovingly signed one
to each person
that was working that day,
but she took that stack.
And Madonna, notoriously
being told to wait outside
because we were
still vacuuming.
And Codie Ravioli's like,
"Bitch, you are not coming in."
And she's like,
"But I'm Madonna."
And Codie's like,
"But the store opens at 12."
That was her famous story.
She always called Madonna...
- Madoodoo.
- Madoodoo. Yeah.
Is this like the '90s
or the early 2000s?
Or the '80s.
When was Codie bitchy?
Was that the '80s,
the '90s or the early...
Codie was always bitchy.
Codie threw out
John John Kennedy.
He came in with Daryl Hannah.
Daryl was a customer,
and John John was standing there
and looking around and saying,
"Freaks, freaks."
And Codie said, "Out!
Get the fuck out."
I think Codie Ravioli
went down in history
as being fired like 13 times.
But it feels so good
I just love the rush

Pat Field!
[applause]
In the early '90s, Pat and I
met through mutual friends,
you know, Mona Foot,
aka Nashom Wooden,
Paul and Jojo.
PATRICIA:
Jojo Americo is responsible
for David Dalrymple
and my affiliation.
- I know talent when I see it.
- And here we are.
And in 1993,
she hired me for her brand
as the head designer
of House of Field.
The very next year we showed
at New York Fashion Week.
The House of Field collection
was always sexy,
lingerie-inspired,
happy, optimistic.
Colors are definitely in.
Bright colors, acid colors,
a reaction to the last
five years of black.
Our customers were pop stars,
drag queens, strippers,
the sexy "it" girl.
I'd like to think
it gave a nod to the future,
but also paid props
to the past.
The point is not to copy,
just to find
the inspiration from it,
to create something new.
Sex is power. We appeal to that.
I designed for House of Field
from 1993 until 2004.
Designing
the House of Field collection,
it meant the world to me.
The store's been here since
1971, so it's over 30 years.
It's so sad
that you guys are moving.
I think it's really going
to be good. Don't be sad.
- I love it. I love it.
- Time moves on,
and, you know,
we're moving with it.
She opened Hotel Venus
which was wildly successful.
Venus was a marquee of an
erotic theater on Eighth Avenue.
And then in the Japanese letters
that means hotel.
Forty years. Forty years.
I don't look a day older.
And she moved to the Bowery.
But a lot of my readers,
everybody wants
to be a stylist.
PATRICIA: Yeah, I know.
What do you think of Lady Gaga
and people saying
that she steals from Madonna?
Lady Gaga learned from the same
people Madonna learned from.
And that's my family,
the Underground of the East
Village in the '70s and '80s.

We had fun.
But also, like,
exciting kids back then.
It's not like that now.
Everybody's so blah.
I remember
you called me and you said,
"I think 50 years is enough."
I can't argue with that.
In the retail business.
My shop was really demanding
so much of my time.
I wasn't having fun anymore.
Little by little,
I found myself caught,
and I'm like,
"Okay, I'm not happy. Hello.
Hey, Pat, this is fucked up.
I need to change."
Because I was always
being approached
to sell my store,
and I was like, no, no, no.
Then one day I realized I have
a retail store for 50 years.
I'm like,
"Get me out of here."
Was it a painful decision?
Like, emotionally?
No, I don't think so.
Don't forget, I had done it
quite successfully
for a long time.
One life to live.
Surround yourself with
beautiful, talented people
and enjoy it.
Yeah.
I always avoid going west
around here.
I go east and then north.
So, where do you want me to go?
I don't care.
Wherever you like.
If you want to make
a right turn on Grand...
No, I was going to make a left.
I know.
So you want me
to make a right?
Well, it's just that it's less
traffic that way.
Okay.
Well, maybe if you want
to go Houston.
- Oh, she's on Tenth.
- Yeah, she's on Tenth.
Yes, that's a spot up there.
Or maybe it's a hydrant.
Oh. Park here?
I don't know.
You want to park or no?
Yeah. I mean, of course.
Hey, lady!
- WOMAN: Hi!
- Good morning!
PATRICIA: I hope they take
a picture of your sign.
Oh, that's a cute outfit.
- Do you want some coffee?
- It's happy clothes.
Everybody runs to Erica.
She's so on every
little detail.
She would make
a great producer, you know.
But at any point...
You know,
when I get the opportunity,
I'll open it up
to whoever could...
You know, like Darren
or somebody, but, um...
that's in the future.
We're still here,
figuring the next day out.
I always joke around
with Pat, Jeanise,
'cause she has girlfriends
in decades,
and I'm the last decade.
You know, getting into
this TV show, it's been...
- It's a lot, right?
- ...a lot.
But my roots do not want
to hear about it.
Yeah, they don't. [laughs]
PATRICIA:
They're not interested.
They yelled at me
when they walked in the door.
- Yeah.
- [laughs]
I'm considering not going back
to work on season three
of "Emily in Paris."
Hmm.
I had dinner with Darren
last night.
Of course, he wants me
to go back.
I mean, I don't want
to disappoint Darren.
I trust him. I respect him.
I'm very happy
with the success of your salon.
Thank you. Enjoy.
I'll see you in a few weeks.
I remember when we first met.
It was like something
out of a 1960s movie
where this hot gal shows up
in a powder blue Pacer,
with your hair,
getting out and going,
"Hi, I'm your costume designer."
I think my voice
was better in those years.
It's always been great.
We spent
the whole day together,
and we came away with one dress,
and I thought,
how's that going to work,
you know, under the schedule?
And then I realized that you
were just spending time with me.
We were shopping, but you were
just trying to get a vibe.
- You know, that's important.
- Yeah.
And you can't throw clothes
at people and say,
- "Here, wear this."
- Yeah.
You have to understand
who you're dressing.
There's a character,
but then there's a real human
being behind the character.
Maybe I learned that, you know,
in my shop through the years.
I mean, the way you
portrayed Samantha, for example,
gave me the inspiration
to dress you.
You always said to me,
"I'm not a costume designer.
I'm a stylist."
- Yeah, that's true.
- I gave you your Emmy.
You're a costume designer.
What's the difference?
It's about me
putting things together
the way I like
to see things put together.
I'm more of a, like,
put-together artist.
- Okay.
- I tell a story about you
when I would come
in your dressing room
and you have the TV on
watching all these comediennes
like Mae West.
- Lucille Ball.
- I was so impressed with that.
I just love it.
We were doing a fitting.
I said, "Okay, I have to fall
on the bed again.
How can we make that different?"
And I said, "Always wear
your high spikes."
Yes. It spoke of how rushed
she was always.
Right. You didn't take
your shoes off.
[laughs]
I am writing a book,
doing a documentary,
- Costuming a series.
- Costuming a series.
- "Run the World" and...
- "Emily in Paris."
I'm a bit busy.
- [laughs]
- Well, I was just...
You know, Kim, it's fine,
As long as I stay happy.
So much for slowing down
in your 80s, Pat Field.
- I know. I gotta stop.
- You gotta stop.
Not stop 100%.
But if you close yourself off,
it's over.
Yeah.
One of the most beautiful things
about "Sex and the City"
was the friendship
that you and I have developed.
- Absolutely.
- The fans were really upset
about your not
continuing, but...
It's always nice to be missed.
And what about you?
They were upset for me, too,
but, you know, it's fine.
- And Darren.
- And Darren. Yeah.
But, you know,
Darren moved on before.
Yes. He also was smart enough
to know what your contribution
was to "Sex and the City."
Yeah, I think I was
a little bit radical for him
when I first met him.
I brought in this book, you
know, pretty sexy and wild--
- Kind of Bettie Page?
- Bettie Page.
That's what it was.
It took him a little bit
to, like, get over it
when he looked at the book.
But he got to understand
my spirit.

STAR: When I met with her,
I remember she brought this book
of Bettie Page illustrations
that were all these 1950s
dominatrix cartoons.
And I thought, wow,
I know this show's
about powerful women,
but not literally like this.
Pat understands sex.
What's sexy about a person?
So much of that is the clothing.
And it's fun to be different,
you know.
she just doesn't want
to be ordinary.
We actually met on a show
called "Grapevine"
in 1991 in Miami.
My producing partner,
Barry Jossen, went ahead of me,
met Pat
and he called me and said,
"I found our costume designer.
She's amazing.
She's a genius and I'm hiring
her." And I said, "Great."
"Grapevine." She had done
all these bright colors
that weren't yet on network TV.
It was a whole look.
She insisted
on bringing some style to
television that now we expect.
It came out on CBS in '92.
And then I sat down
and wrote "Miami Rhapsody,"
and we started production
in late '93.
I got the whole team
back together.
It was the same crew
that had done "Grapevine,"
and Pat was a no-brainer.
I was thinking maybe
you would marry me.
And Sarah Jessica immediately
fell in love with Pat.
PARKER: She was so fun
and funny and sexy
and excited about the work.
She's so freakin' smart,
steeped in history
and points of reference,
and I knew far less.
There was a lot I had to learn,
but I was curious enough
to pay attention.
There's a moment
where Sarah Jessica
and her boyfriend, Gil Bellows,
are talking,
and I had Sarah Jessica change
in the course of the scene.
So Pat put Sarah Jessica
in a gold lam-ish bra.
I don't know much about bras,
but it was gold.
And if you ask
anybody years later
what do you remember
about that movie.
"I remember Sarah Jessica
in a gold bra."
The most telling moment--
she came in to show me wardrobe
for a particular scene.
It was a man's suit
that Sarah Jessica was wearing
Pat styled for her.
She had a button-down shirt,
French cuffs
that were not linked,
and the French cuffs
ran down past her fingers.
And I was, "What the hell is
that?" It just looks crazy.
I've never seen anybody
like that.
And Pat said,
"Just trust me, trust me.
This is going to be great."
And sure enough,
after the movie came out,
that style became popular.
I saw it all over the country.
One of the great things
about working with David
is that it's not
David's aesthetic,
but he loved Pat from his
experience on "Grapevine,"
trusted her, and, you know,
his head might morph
into a question mark,
but his instinct was, "Alright."
I think Sarah Jessica had
never been styled in that way.
Pat has to feel out
how far an actress will go.
And obviously
with Sarah Jessica,
she had someone
who was ready to go to the moon.
PATRICIA: Sarah Jessica Parker
was a natural in clothing.
Graceful, enjoyed it,
was intellectually into it.
And then when "Sex and the City"
came along,
Sarah Jessica recommended me
highly to Darren Star.
Darren was creating something
that didn't have
any point of reference.
and Pat being uniquely
positioned in fashion,
really rogue and underground.
The idea of Pat designing
this show was like,
why are we even having
this conversation?
She was extraordinary and simply
the only person for the job.
STAR: Pat and Sarah
always had a collaboration.
They were always
plotting together.
Especially I remember
this one particular scene
where they were having a picnic
in Central Park, first season,
and Carrie's wearing a dirndl,
and I'm like,
"Why is she dressed like Heidi?"
And she said, "Well, you know,
because she's having a picnic."
I'm like, okay.
Um, I understood
where her mind was going
in that the character of Carrie
loved clothes.
You know, she'd rather
buy shoes than food.
And I think her wardrobe really
helped define the character.
How are you?
Every time you watch
"Sex and the City,"
everybody's like, "You are
the legend of all legends."
- Do you criticize yourself?
- I did once.
I criticize myself
all the time.
When I put a belt on
Sarah Jessica showing her skin.
Was that the one
where she's wearing the belt
directly on her?
No, no.
That is an iconic moment.
Iconic. Iconic.
I always know she's doing
something interesting
when it makes me
a little uncomfortable
when I first see it.
You know, in "Sex and the City"
with the tutu,
I'm like, "What is that?"
In fact, I asked Pat to come up
with a second option
for the tutu.
I just thought the tutu
might be too strange,
but it's the strangeness
that made you look
at the character and think,
"Who is this girl?"
The description for my role
in the pilot was pretty thin.
It was basically Marc, no last
name, bitchy gay assistant.
There wasn't a lot there.
Pat definitely helped me find
a complete character.
I'd never been
to a fitting quite like it.
Usually you go to a fitting
and it's like,
okay, I see that's a look,
I see that's a look,
I see that's a look.
But in a Pat fitting,
it's just pieces everywhere.
Rarely did I ever wear,
like, a three-piece suit
with a shirt and tie and shoes.
It was almost always
a this with a that,
with a this with a that,
sweater with a bow tie,
or an ascot with like
a tiny little tight shirt
that was tailored
within an inch of its life.
You ended up wearing
a combination of clothes
that made no sense to you
until suddenly it did.
You have no idea
what is going to be created
once you go in for fittings
on "Ugly Betty."
Pat's style is undeniable.
Even Betty came out colorful,
with a lot of mixed patterns,
all the same
kind of color value.
Betty wasn't frumpy. You would
still want to copy her style.
She was always going
to have braces,
but Pat was like,
"It's not working.
It's not there yet.
Something's missing."
And then she was just like,
"Put these on."
And America
put on Pat's red glasses
that were actually
Pat's glasses.
And suddenly that was it.
There she was.
We did the pilot
with Pat in New York,
and in the pilot, I had several
very different looks.
We'd been promised
that if the show got picked up,
we would shoot in New York.
That was a lie. And suddenly
we all had to move to L.A.
And Pat didn't want
to go to L.A.
She said, "I'm not going."
And we got Eduardo Castro,
and Eduardo Castro
had a great sensibility,
but the looks became
a little bit more unified.
I would wear a similar thing
from episode to episode.
It was just a little bit...
It wasn't a little--
It wasn't as dangerous.
So the first two seasons,
I ended up wearing
very similar ivories,
very kind of
sophisticated palette.
And then at the end
of season two,
they said,
"We're moving to New York,"
because of tax incentives,
and we got Pat back.
Pat came back
and put her stamp on it.
Out of the gate,
taking no prisoners.
When Pat came back,
Betty became a fashion icon.
After Pat came back,
Wilhelmina burst onto the scene
with colors and patterns
and stripes and neon.
URIE: Feathers, hats.
Fishnet tights
and these high-thigh things.
Pat would push it to the limit.
I remember this one look we got.
I was giving a press conference,
and I'm wearing a hood.
No one said,
"That's implausible.
Take off the hood."
I'd never seen pink and orange
together before.
And it blew my mind.
I had a walking stick once,
like Quentin Crisp.
Pat talked about Quentin Crisp
in the fitting,
and we did that amazing homage.
Pat was able to take looks
from different eras
and put them in the now,
and they felt timeless.
Like a bell bottom.
WILLIAMS: For me,
she loved the shoulder pad.
This is from Pat's store,
by the way. I broke it out.
Or like a weird double-breasted
suit that we weren't wearing
in the oughts.
She bucks trends.
I guess that's what it is.
She doesn't care
about what's trendy.
She doesn't care about
what's hot, what's hip.
It must have been wild for Pat
to go from "Devil Wears Prada,"
which has this Anna Wintour
thing going on, to "Ugly Betty,"
which also has this
Anna Wintour thing going on.
They're not dissimilar stories,
but she was able to find
two very different looks.
You know,
last night when I got home,
"The Devil Wears Prada" was on.
And, you know, when I got
a nomination for an Oscar
for the costumes,
I was like, really?
You know,
I'm just doing my job.
But I watched it last night
and it kind of looked good.
Maybe time made
the difference for me.
- Yeah.
- I'm not sure.
Sometimes you need
a little space from things, too.
Definitely.
Was there a part
that stuck out for you?
When I heard it was
Meryl Streep, I said, "Yes!"
I remember
introducing Pat to Meryl
in Meryl's townhouse
in the Village,
and Pat had some tear sheets
from some magazines.
And she says, "Ah, Meryl,
I want you to look like this."
There was some famous model,
bright white hair.
It was very distinctive and new
and had never been seen
on film before.
And Meryl said,
"Oh, I love that."
Back at the studio,
eyes pop open, panic set in,
screen tests were demanded.
"No way. She can't wear a white
wig. That's not going to fly."
The executives flew to New York.
I knew why they were coming.
Meryl guessed
why they were coming.
So we met in Pat's office.
And the way into Pat's office,
you had to pass rows and rows
of tables that were laid out
with all the accessories
for the movie.
Gloves, bags,
hats, belts, shoes.
It was just
an incredible display.
And their eyes pop open.
Suddenly they went
from being executives
to shoppers, you know.
And then they come in
facing Meryl,
and she goes,
"Why are you here?"
And they never said a word
about the hair.
It never came up again.
It was all
a little bit of design.
Pat and Meryl.
And she was Miranda Priestly
at that point,
and they weren't going
to mess with her.
- Hi, everybody.
- Hey, Molly!
- Hi.
- I'm here to kiss the ring.
Oh.
The gallery, I have to say,
is packed and looks gorgeous
and interesting
and special and fierce.
- Like you.
- It's like my little home.
I feel at ease here.
You were interested
about Jackie's shoes?
- That you lent.
- Jackie Oknaian?
We borrowed Jackie's
Dior Extremes about 20 years ago
or something,
and she would
like them returned.
So I did have Kevin bring
those boxes from storage
for the "Sex and the City"
stuff.
Do you want to take a look
at those bins?
We should.
This is more than I thought
was going to be here.
Molly Rogers is a member
of my graduate school
of costume design.
Open sesame.
- Oh.
- Oops. Here it is.
On "Sex and the City,"
I was called a supervisor
in the very beginning,
but it was really a misnomer.
I was next to Pat.
I was in all the fittings.
I was really
an assistant costume designer.
This was Kim
at the engagement party
of Mr. Big and Carrie.
Okay, that's my personal
Keith Haring.
You had that made for Kim
under the tent in Dubai.
This was borrowed
for Cynthia Nixon.
This Julien MacDonald,
Miranda wore it at Stanny
and Mario's wedding.
You can buy that
from Timmy Woods.
If you're in the market
for one.
Here's a Nancy Gonzalez
alligator handbag.
I want to use that. I'm queer
for yellow handbags these days.
Oh.
Bras.
Here's the original
Carrie necklace.
Oh, these are major.
These are Jimmy Choos.
There's two that exist
in the world.
These are worth
a shitload of money.
Wait!
SJ has the pair she wore
at the Staten Island Ferry.
These are the other pair
we borrowed.
Well, they haven't been
bugging us for them.
- They don't know they're here.
- I will get it back to them.
- Do you remember this?
- Probably not.
I mean, the volume of so
much stuff that we went through.
You won your battle with
the tutu in the opening scene.
Yeah, yeah.
But your second battle--
Every time
Carrie typed at the window,
you wanted her to wear a tiara.
- Oh, yeah.
- Like her thinking cap.
It's a great element
in a different setting.
Gagging. Zac Posen.
These are
the real-deal bridesmaids.
Carrie's wedding.
Samantha. Cynthia.
This is what you wanted Carrie
to get married in--
the Angel of Death.
But Kristin ended up in it.
Well, I got married in black.
Yeah, it's such a big thing,
a wedding dress.
And for Carrie Bradshaw,
there was so much story
that led up to that wedding.
I remember lots
of internal discussions,
and I think, you know, where
Pat ended, where we all ended.
Like, it wasn't
a traditional bridal dress.
It wasn't delicate,
never mind the bird,
but it had its own color.
I mean, it was like the inside
of a vintage French horn
that's like been around,
you know what I mean?
It was like ivory,
champagne, silver.
It wasn't white.
It wasn't white.
And in some ways,
that dress felt black.
- Here's Jackie's shoes.
- Yay!
You have a pair of those
in your closet, too, Pat.
Yeah, but I ain't wearing
shoes like that anymore.
This shoe Pat saw at Saks.
And you were like, how did
this shoe get under the radar?
This shoe is amazing.
And I think there were, like,
seven pairs in the U.S.,
and we got them all.
- Shit.
- And Carrie wore them.
And when she did,
it caused a worldwide sensation.
We crystalled a pair
for her wedding gown.
Okay. That's what Carrie wore
underneath the Westwood
wedding gown.
And Dior was gagging
because it had already done it
and nobody had been into it,
and you gave it a new life.
In the early, early days, like,
let's say, maybe season one,
there was
a very high HBO executive
that came into the costume room
and went through
Carrie's wardrobe by herself,
wanted to see what Carrie
was going to be wearing.
And there was a pair
of Christopher Nemeth jeans
from Japan hanging there.
Pat loved them. SJ loved them.
And the lady said,
"No one's going to understand
these jeans in Omaha."
And Pat kicked her out.
[laughs]
And that was it?
They used the jeans?
Oh, yeah.
We had some fun, didn't we, Pat?
It's not over, but...
- Right.
- ...those were high times.
When I couldn't do
the new "Sex and the City,"
"And Just Like That"--
Because I was in Paris,
I just couldn't do it.
I said "Call Molly.
Call Molly. She knows it all.
She knows it better than me."
To have a stranger come in--
I mean, that would have worked.
A stranger. It wouldn't have
worked. Don't even say that.
When I saw my name
in the press,
there was all
this bullshit about
"Where's Patricia Field?"
Blah, blah, blah.
I'm like, "Oh, shit."
I don't know. Lately it's become
a bit overwhelming for me.
You know, ascribing all these,
yes, complimentary names to me,
kind of builds up
an obligation in my head
that I'm not comfortable with.
It's not that I don't appreciate
that they like my work.
I do. But I try to stay
in my own lane.
It was one of those days
you don't forget.
Her baby blue Pacer.
This was not
just going on a shopping trip.
We were going on an exploration
of Samantha Jones.
Off we go.
And I can't imagine
a better partner.
And it took time for us
to find Samantha.
Those long hours
of putting together a costume.
"Kim, it's not a documentary.
You can't look like
these women.
You've got to look like
the glamorous 'you' version."
And I went, "Ah! Of course,
of course, of course."
What was I thinking?
And I created with her
this different kind of woman.
Gave her sexiness,
gave her vulnerability,
gave me
so many more colors to play.
Suddenly, Samantha
had arrived
and I fell in love
with Pat Field.
She gets a flash of something.
I mean, the hat
in "Sex and the City 2."
That scene became the hat.
What was going on with Samantha
exactly in that moment
with the guy next door?
Should I let him see me?
I want to see him.
I don't want to see him.
Where did Pat find that hat?
It appeared
the day of the shoot.
And years later,
she's driving by, you know,
in now her Thunderbird.
She's let go of the Pacer.
She passes somebody
in some neighborhood
who's got their wares out
from 1950, and she just...
She's been shopping with me
and she'll say, "You know,
that's something good for
'Emily in Paris'" and she'll--
She's always alive, aware.
No ego, no bullshit.
If you don't want to do it,
if you don't want to play, fine.
But if you do,
if you're up for it,
she'll take you
on such a fantastic ride.
[phone rings]
In 1987,
I get a phone call.
Hello?
And it's Candy Pratts Price,
who was a friend of mine,
and she's like,
Pat, I'm working
on this movie in Pittsburgh
called 'Lady Beware,'
and it stars Diane Lane."
And the director asked
if she could recommend
somebody who could
do costumes.
They called me and I had
never done it before.
But, you know, it was exciting
and it got me off
to such a good start
into film and TV.
- Are you excited?
- Very excited.
"Run the World," season two.
I have to get myself excited.
Straight ahead.
Straight ahead.
Take the next exit
on 42nd. Right?
No. I suggest 61st,
but if you want to go 42nd,
it just means city traffic
between 42nd and 58th.
We're going to get off
at 61st Street,
and you get off on the left.
Get off here
And there's a couple of lanes.
just stay to the left.
Who needs a GPS when you have
a native New Yorker?
Yeah.
It's true. I am.
Okay. See that car going
in there? Park?
That's where we're going.
I always feel like
I'm really in New York City
when I'm around Bergdorf.
I don't know.
Something about this...
You know what? I was born
a little further up in the '70s,
and I hate coming midtown.
- Good morning.
- Hello.
We're going to see Betty
at Studio Services.
I have a birthday coming
in a couple of days.
How old? Oh, I won't ask.
- Eight-zero.
- That's very young to me.
Do you know my daughters
in their 70s.
Betty is a Bergdorf's
institution.
BETTY: I really started
this business.
How long have you been here?
How long have I been here,
Addy?
It'll be 46 years this fall.
Well, when I color my hair
this color.
- Mine is signature.
- Oh, I see.
I didn't realize that.
You know,
when I started to get gray,
I was like,
"I don't like this."
So then I started doing
all these different colors.
Do you know how long
we've known each other?
Probably a lifetime
minus a few years.
You're gonna to carry this
thing? It's bigger than you are!
That's why I did my backpack.
Is this anything
that Sondi could wear?
I really want to
sex her up a bit.
Pat, drop everything
and try this dress on someone.
It weighs 52 pounds.
Give it to Molly
for Sarah Jessica.
[laughs]
- You like these?
- For who?
- Sondi.
- I'm not sure.
I see these women walking around
with these baggy pants.
You know what I mean?
Or this kind of pant.
I'm like, I can't wrap
my head around this.
It's just this looseness,
like the crotch is down here.
Okay, so we'll pass.
If you like it. I trust you.
It was one of the things
in the Dropbox, so I think...
- Yeah, it was.
- Yeah.
Really, I have
a hard time understanding
the clothes these days.
Maybe I'm over-the-hill.
- Alright, let's keep looking.
- Okay.
Where were we
and where are we going?
This is Libertine.
The pants that Sondi wore
last season in the opening,
they were Libertine.
I love this.
And I love it
with these pants.
- Yeah, I like it.
- But where? What scene?
First two episodes, I don't
think we have a scene for that.
Could she wear it when she
goes to Baptiste at the school?
No, because she's there,
like, to impress Baptiste.
And Baptiste is going to look at
her like she's Patricia Field.
I just want to make Sondi
more glamorous.
- I like this with Baptiste.
- Mm-hmm.
- Let me just slip it on.
- And model.
As long as it's roomy enough,
'cause she's...
It doesn't have sleeves.
It's a cape.
Oh, it's a cape. Shit.
Something wrong with this.
- What's wrong with it?
- Just never going to fit right.
What do you mean?
That the hanger has...
There's something misfit
about it.
Too big in the neck?
I like that it's big
in the neck.
And then it could be
off the shoulder.
I'm telling you, it's no good.
- Let's try it.
- You want to try it?
So much for that.
Maybe I shouldn't be
so experimental.
I don't know, it looks like
Victoria Beckham had a stroke.
That's right.
Fix it all before you leave.
- I can't help it.
- Absolutely.
- I'm a store girl.
- Absolutely fix it up before...
I hate to see...
- You and I could live together.
- ...a mess.
- Bang!
- [horn honks]
This is so inconvenient,
this location. Yonkers.
Every day
it's on my list of bullshit.
I know, Pat.
I know you hate it.
I hate it, too.
Well, I'm glad you got to be
the designated driver.
Last season sucked
because our office
is in Greenpoint,
our base camp
at 125th Street,
and then our stages
were in Long Island.
- Yeah, but this is worse.
- Oh, no. A hundred percent.
These apartment buildings
everywhere
remind me of dental implants.
Look at this.
Here you go. Traffic.
I'm sure financially it's more
than worth it for them.
For them, it's worth it.
- Not our time and money.
- You told me time and money,
they fucked and had a baby,
and it was called business.
- My analogies.
- I call them Pat-isms.
Yeah, well, I have to learn
to keep my mouth shut.
[laughs]
We have to check in.
- How are you today?
- So far.
So far, so good.
[automated voice] Going up.
Third floor.
Going down.
- Good morning, Andja.
- Good morning.
Hi, Andja.
Actually, I need
to check these in for Pat.
They're going to go
into Sondi's closet.
Thank you, Andja.
This is Andre Walker
from the '80s
when he was a kid
having fashion shows
up and down Eighth Street
in front of my store.
Pat, Bresha's dress...
Yeah, we need to go
and see Bresha.
Are you ready to fuck it up?
Let's go!
- Season two!
- Season two!
When I found out Patricia Field
was going to be
a part of the project,
I was like,
this just got really cool.
"Run the World" is like
the "Sex and the City"
of our generation
with Black girls
living life in fashion.
And I was like,
"And Patricia Field?"
We're going to start
with the airport.
- The very first scene.
- Yes, okay.
Tracy was thinking
something sexy 'cause...
Rene Ross must be.
So I was thinking maybe....
I like this because this
is going to hug my butt.
My ass. Real nice.
Yuk, yuk, yuk.
She's single now, so she wants
to be outside mingling.
And this is Zara.
This is what y'all do.
- High and low.
- High and low.
That lips bag could work here.
That gives it a pop.
How does this make sense?
How does this make...
Y'all are nuts. Like, Pat,
how does this make sense?
I don't know. When it
makes me happy, I go with it.
I go with happy.
Since you're going
to see Jason,
maybe you want something
a little sexier for that scene.
Yeah. I mean,
'cause in the scene,
I'm trying
to get him back still.
- Right.
- I'm still trying
to make an impression.
I don't want him back,
but I want him to want me, so...
- Of course.
- But this is definitely a look
I would wear
with the girls to brunch,
you know, like just going
to get a cocktail.
Let's try the Mugler, right?
- Yes.
- Yes.
- Okay, here we go.
- Okay, how does this work?
- We put this.
- Yeah, let's leave
a little sexiness
with the zipper.
Oh, hell, yeah.
- Oh, yes.
- Look at that!
PATRICIA: And you've no waist.
Ooh!
This is a problem.
I just want to just get...
I want to take
everything home.
Yes, and tell our company
to pay for it
and let you take it home.
- Absolutely.
- They're Andy Warhol.
- I like those.
- I love those.
I don't know. I like them.
Not for this look.
Well, she's on the plane, and
she's supposed to be sleeping,
so we have eye masks.
But we--we could wear 'em
like a headband.
PATRICIA: I like the headband.
They're cute.
- That's cute.
- She's cold on the forehead.
PATRICIA: Try those glasses
with the headband.
- Listen.
- Put them together.
Let's see what happens.
Cool! She looks
like she's going skiing.
She's going to Aspen.
This is her Aspen look.
- This is Aspen, right?
- Okay, that's too much.
Not the glasses.
I say no to the glasses.
- I love that bag.
- This is a look. I love this.
- Her luggage is in there.
- My feelings are in my purse.
She just needs a credit card
and a cable to charge her phone.
- Yeah, that's it.
- It's really all...
This is a look.
Let's take a picture.
Yaaaaay!
This is a new look!
PATRICIA: Building the look.
Yeah, and let's get the detail.
PATRICIA: This character,
she's got so much natural energy
and expression.
Boom! Look. Look.
It's like food
for us creatively.
You think that's going to be
too much? Is that too much?
- Is that too much green?
- That's too much.
Those are maybe too much.
I don't know
what's too much for her.
Building the look
is the fun of it.
- We were talking about...
- Oh, yes.
In the art gallery,
when she goes to meet Francisco
for the first time.
It's time for me
to get rid of my jacket.
Oh, I love with the spark--
It's like a iridescent.
It was designed and gifted to me
by Alexandre Herchcovitch,
who's from Sao Paulo.
It's Burberry a la Rene.
But I would love something
a little flowy.
'Cause I keep turning around.
I want wind. I want wind.
- See anything?
- Oh, it's Chanel.
- Lord have mercy.
- It's a little windy.
I love this Chanel
over this Zara and H&M shorts.
- Yeah.
- Let's see you walk.
- Ah, the wind!
- Cue the wind.
The wind!
- Next look.
- Yes.
Pat has this friend,
Victor de Souza,
and she had him make
this outfit for you.
How cute. Show a little skin.
Now, is that your line?
Yeah. When I had my store,
I worked with David Dalrymple,
and he used to make
special things for us.
- Try it on.
- Yeah.
I would love to see the little
tube top with the suit.
Okay. That could be cute.
Just the tube.
Whoo! How lovely.
I mean, I love this suit,
but do we want to stay
matchy-matchy for her?
Can we mix the jacket
with another skirt?
Ooh, yes.
- You guys are nuts.
- I'm feeling this.
- You feeling it, Trace?
- Yeah.
- You feeling it, Trace?
- Yeah.
Okay. Let's go. [laughs]
- Okay.
- Ooh, I love this.
This is a great fit.
How does this make sense?
Now it's an ensemble
that's unique and original.
- And no one can recreate this.
- And it's yours.
- You want to do the red?
- If you want them.
- Well, of course I want them.
- See how you feel.
After all, you're in front
of the camera, not me, my dear.
- Well, I trust you.
- Well, trust is important.
- Oh, my gosh.
- I love those glasses on you.
- No matter what scene it's in.
- I mean, seriously,
it can just be
these glasses at all times.
It's giving me, like,
a '60s, '70s flair.
Like, with this feather. Ohh!
- Yes!
- Cue the fan!
- You want to try the boot?
- Yeah. Let's try the boot.
PATRICIA: This one, too.
Give me the glasses.
Where are they?
Honey, it's gorgeous.
Oh! I'm like Elton John
right now.
Just another work look.
Going to get drinks
with friends.
- Yellow is nice.
- Oh, the yellow is fabulous.
You know, and it can hang
right on the hip.
Will you wear the glasses
the whole time?
Abso-fucking-lutely!
We have to get
a full body shot.
Yes, this is hot.
And what's my fucking name?
I think this is it, guys.
- Yes.
- I love it.
PATRICIA: I'm very happy.
I don't even remember
how we got here.
Like, this is the only way.
- Welcome to our world.
- Yes!
Yes, to the look.
You get the reaction
when you're like,
"I don't know
if this is going to work."
And then you go on set
and everyone's like,
"Oh, my God!
Could you believe? Did you see?"
And she's standing there
with Tracy going, "I told her.
I told her. I told you."
I'll put this hand away.
I'm not married on the show.
That's where you build
the trust.
The biggest compliment
when she comes and primps you,
and she's fixing you up
and she's like,
"I told you. You. You did it.
The outfit isn't wearing you.
You're wearing it."
All the girls have such
different, distinct looks.
And you guys have done such
an incredible job with that.
Just like "Sex and the City,"
"Devil Wears Prada."
Everyone had their own look.
We do, too.
PARKER: You know, I've always
loved a costume fitting.
I want to be a paper doll
to some degree.
So when I first met Pat,
you know, I was in love.
[laughs]
And what became our routine
was that I would put anything
on for Pat. Anything.
I didn't care
if it was ridiculous
and it didn't have a shot.
If it brought amusement
to our fittings
at 2:00 in the morning
or it made her happy
or it surprised us,
I would put it on.
If you've never seen
three colors together,
some people might say
"it's ugly
or "they don't go together"
or "they're not on a chart"
or "we haven't seen that.
That's bananas."
And over time your eye can see
if you're willing to see
what Pat sees.
The absurd. The ridiculous.
The greatest risk
you've ever taken.
And maybe someone
might not understand it,
but that's just an opportunity
to understand it, accept it,
and maybe accept more
so somebody else they see
walking down the street
that they don't understand.
I think a lot
of Carrie Bradshaw.
That we didn't have time
to tell in words,
we could say
more about who she was,
you know, how she was feeling,
choices she was making,
with her clothes.
If I ever walked to the set
and crew members were like,
"What?" I was like,
"Oh, this is great."
I remember I walked
onto the set one day
and this crew member
who I loved--
I think I was lining up to go
on four dates in a row
with the same person.
So I was changing clothes
and then running and shooting
and then running back to
a trailer and changing clothes.
And I came back
with, like, yet another outfit
out of Pat Field's imagination.
And I remember this crew member
saying to me,
"Give the guy a chance."
He's like,
"What are you doing to him?
He'll never understand
any of this."
And I was like,
"Hmm, that's all right then."
Pat gave me
a lot of confidence,
you know, to walk
on the streets of New York
in front of a lot of cameras
and a lot of opinions
and just be like,
"No, go for it.
I don't care. Go for it. Do it."
It's nice to have somebody
like that around you
right before you
walk onto a set.
Hey, baby, think
I'm feeling brand-new
There's some things
I wanna show you
Ooh
Ooh
Hey, baby,
think I'm feeling brand-new
Can I say one thing?
Okay, so today,
Sondi had these pants on,
and she had them on backwards.
I was very disappointed that
she didn't like those pants.
Well, maybe because
they were on backwards.
- Maybe.
- Except that she didn't seem
to have a problem
with the waistline.
She had a problem
with the hips.
Yeah, because they
were on backwards.
So I'm going to try these again.
Are you putting that
on the airplane now?
He's going to try
to convince her tomorrow.
No. I just want to see them
on the right way.
- Tracy.
- Yeah?
Do you not like a high boot?
I love...[chuckles]
Because I know
I've said it a few times,
and I don't see
one high boot here.
- These...
- She doesn't like these at all.
It's that ugly toe.
It's like stub toe.
It's not graceful.
They look like Flintstone feet.
PATRICIA: Even if we went
to a store like--
What's that cheap shoe store
on Broadway?
- Aldo.
- I'm sure Aldo has a high boot
that's not an arm and a leg.
The only thing is that stores
don't open until 11:00
and it takes
about an hour to get here.
I hate this crazy location
is like, you can't run out.
- You need your overnight bag.
- Absolutely right.
- It sucks.
- It does.
- But we're here.
- So we'll get higher boots
and we'll remove these
since you don't like them.
- I mean, you like those?
- I don't like them.
Nadia likes them.
That's why they're here.
I'm so sorry, Nadia.
I don't understand them at all.
If you could explain them to me,
I might learn something
that's going on in your mind.
I like this shape
of a square toe. It's stronger.
This part actually
makes it more interesting
rather than if it
didn't have it at all.
In the evolution
of the toes of boots,
it gets rounder and rounder
and rounder and rounder
until we get to this point,
and then it goes back
to being pointy.
It's like an evolution.
It's not attractive on the foot.
The foot looks like it's got
a bump on top for no reason.
I'm not married to the boot.
If you don't like it--
Well, you bought two of them.
So, where are we?
- I don't know.
- I don't know either.
All of my life
I'm chasing diamonds
[automated voice] Going up.
All of my life
I'm far from home
We'll take the stars
And make them diamonds
We'll catch the light
I've always loved
to be around young energy
because they
are more optimistic.
Young people especially,
they always tell me
how I inspire them.
And that is the most beautiful
thing that anyone could hear.
Because the future is for
the young people to be happy.
Then we'll have a good future.
[teakettle whistling]
I called Darren.
I said,
"I can't go back to Paris."
He thinks I could
do it virtually,
but I cannot
because fittings and...
No, I can't do that.
You know, there's the book,
this documentary, this job...
You're in demand.
I'm in demand, but I'm also--
My match is down to the...
No more strikes.
Yeah. I was there for two years,
you know, four or five months
away from home.
I was homesick
especially the second season.
It won't be the same.
But it'll be good.
STAR: Pat makes me look so good
because she brings her genius
to what I do.
I'm always jealous of
whenever she does another show.
I'm like,
"She's cheating on me."
We've been working for a while,
but, you know,
this is our first...
Finally getting
to meet each other.
- Face-to-face.
- It's such an honor.
Thank you for your hard work.
Thank you so much
for bringing this book to life.
It's really beautiful to see
your life evolve and your
career evolve over time
with this cast of characters
alongside you.
It's really inimitable.
And then to see it on the page,
readers will feel like they're
on a trip back in time.
It's accessible, like you.
Even though you have this
very eclectic, wild background
that a lot of people
maybe not experience themselves,
you're pop culture,
and it's got that feel to it.
I cannot wait for the readers
to get their hands on this.
I love entertainment.
Yes. It's entertaining to read.
That's what I do for a living.
Your book comes out in February,
February 14th.
Next Valentine's Day.
Perfect week for your book
to go on sale.
In the lead-up, we're going
to strategize events,
media you might
be interested in doing.
We'll think about ways
that we can market the book
to different generations
and demographics.
I like to do
out-of-the-box events,
making sure that every reading
or event feels like a party.
Rebecca. I got a text
from her today,
and it's been on my mind
to call her.
She's in New York again.
She's very entertaining.
Amanda. Did she do
an interview with you?
I feel like the presence
is represented on the page,
which is the most
important thing.
They were close to me,
the whole--
Memory was close to me.
Covers a lot
of different time periods.
I want to make sure
that people understand
the spirit of the book,
and it doesn't feel
like it's too buttoned up.
That's not you. So we'll
definitely work together.
I wouldn't know
how to do that.
Party time.
You know I'm one big party girl.
- I know you are. I know.
- 'Cause that's what life is.
I know. That's true.
Excellent. Thank you so much.
- Okay.
- You're good at that.
- I don't know.
- She's good at that.
She could be
the next Rachel Maddow.
- PATRICIA: Thank you.
- You're welcome.
Oh, God, it's the first time
I'm out today.
Where are we going?
We're going
to a new restaurant.
Yeah, we're really close.
[siren blaring]
- Oh, my God, the sirens.
- Lower East Side.
[laughs]
I think this is it.
Here, Pat. You first.
La la
Wow. What is this?
GUESTS: Surprise!
Happy Birthday, Pat!
Happy birthday. There's a lot
of fans here today. Get ready.
Are you surprised?
Totally. Your world is here.
Baby boys, pretty girls
Meet me at the function
We turn up
Then we burn it down
We turn up
Then we burn it down
We show up
Then we shut shit down
We show up
Then we shut shit down
I almost know you
half my life.
- Oh, really?
- Yes.
I called her during Covid,
and I was like,
"I'm gonna come see you."
And then I got scared. I'm like,
"I'm going to give her Covid
and kill her."
I mean, 80.
Are you kidding me?
[both speaking Greek]
And this is the function.
[cheering]
MAN: I like her jacket.
My gorgeous, gorgeous,
gorgeous.
- I'm so glad you came.
- Ha ha!
- How are you? I missed you.
- I'm good. Are you kidding?
I fit in
because of your sleeves.
Oh, good. I got mine on.
[laughs]
I love this woman.
It's so good to see you, baby.
I wrote about all you
in the book.
Oh, really? I hope you said
good things about me.
I have a photo of you in my book
with a tooth missing.
- Okay. Yes, yes.
- I do.
Hi, baby.
- Hi, Daphne.
- Hello, Pat. Happy Birthday.
We love you so much.
I'm so honored
to have so many friends.
It takes a lifetime,
but it's cool.
You're fired!
Happy Birthday to you
Happy Birthday, dear Pat
Happy Birthday to you
[cheering]
Hi, Pat!
Hey, Dana!
- It's so good to see you.
- Good to see you.
I'm so glad you're going
to help me look gorgeous.
Me, too. You ready to go?
Let's start your hair.
- Let's do it.
- Okay.
When did we work before
together, Dana?
- I can't remember.
- Bowery. Mm-hmm.
Bowery. And when you
were in Bowery.
Uh-huh.
I was the Halloween girl.
We would have
a Halloween weekend
where everybody would come in.
You'd get--
We were completely booked
with makeup appointments.
- Yeah, these are my fun bangs.
- I love a good Bettie bang.
It dictates my hair color
because it stays as it is.
Yes.
And it has to match
the rest of it.
Exactly.
I'm trying to remember
who made these for me.
Maybe it was Codie.
- Codie.
- Codie Ravioli.
Yeah. Sweet Codie.
Well, that's the first time I
heard that description of Codie.
[laughs]
Pat interview, take one.
Common mark. Soft sticks.
MAN: And remember that
the storage place got flooded
in Hurricane Sandy.
- PATRICIA: So, is it wrecked?
- I think so.
Yeah. It's beyond repair.
And that's you and Armin.
The prettiest boy
in the world.
Oh, my God.
Johnny Dynell.
Oh, and this is
what's her name--Candis Cayne.
- Candis.
- Yeah.
My shop has always catered
to young people.
Club kids.
And I have always had
a young staff.
Kevin Tobell.
And, you know, Tobell's
work is in the Gallery.
- Mm-hmm.
- He's cute.
My everyday life
was with a generation
much younger than myself.
David LaChapelle.
What party was this?
Who knows? Life's a party.
There's so many parties.
Perfidia.
If you're interested
and you're listening to them,
you will learn a lot.
- Uh-oh.
- Amanda Lepore.
You know,
when I look back on my life,
I really don't see
huge difficulties.
Fashion is easy for me.
I understand business.
I learned it in my family.
Molly. And David Dalrymple.
- Zaldy.
- Oh, Zaldy, right.
If ice skating beautifully
is easy for you,
you're going to be
a great ice skater.
Though my philosophy
is do what's easy.
Don't do what's hard for you.
Oh, this is my friend Masuko.
She's gone.
- She was from...
- Tokyo.
Yeah, and she had cancer?
Yeah. I really miss Masuko.
I miss her so much. She was
a really close friend of mine.
Recently, I have to confess,
I lost my sister,
my younger sister,
like, a few weeks ago.
And then also friends.
A lot of friends have gone.
- It's been kind of...
- Difficult.
Yeah, it has been. Right.
We're all getting old,
but you kids are kids to me.
But I'll tell you something,
I feel--
I feel tired
with these big projects.
I'm ready to retire.
Uh-oh. That's the end
of the story.
My dad died when I was
about seven, eight years old.
He had TB.
My mother remarried,
and then he died of cancer.
I was like, whatever,
a teenager.
And then she met
her third husband
who I call George III.
He was much younger than her,
but he, through the years,
started to take over
and he wanted to have her
declared incompetent
down in Florida
where they lived.
And I fought it and I won.
And after the whole
court procedure,
my mom...
walked right out with him.
She loved him. I have pictures.
You could see it.
She looks at him
like he's fabulous.
George III.
And even though he was
a lot younger than her,
he went to sleep one night
and he never woke up.
So she was a widow
for the third time.
I just want to live
until I die,
and that's the end of it.
What can I say?
The process of creativity is
you have a feeling of,
you know, happy haze.
If you were painting,
you would paint
in very pastel and soft colors,
or a songwriter would
write a love song.
Or if you were
a clothing designer,
your feelings you interpret
with the clothing.
And that's, to me,
what creativity is.
It's whatever makes
this picture more clear.
Okay.
- That's it.
- Really?
How many minutes are left
on that tape?
None really.
[static]
[disco playing]
You got me dancing
Out here on the floor
You keep me dancing
Coming back for more
You got me dancing
Keep me going strong
You got me dancing
all night long
You keep me dancing
Out here on the floor
You got me dancing
Coming back for more
You keep me dancing
Keep me going strong
I can't stop dancing
all night long
I need a break
Too much in my life
A special place
where everything is right
In a space
to feel that energy
The music's got me
where I wanna be
- You got me dancing
- You
Out here on the floor
You got me dancing
all night long
You got me dancing
out here on the floor
On the floor
You got me dancing
all night long
- You keep me dancing
- Got me dancing
- Out here on the floor
- Got me dancing
You got me dancing
Coming back for more
- You keep me dancing
- You, you
- Keep me going strong
- You
I can't stop dancing
all night long
When I'm moving
I'm feeling the flow
Ain't no stressing
It's time to let it go
I'm in the nightlife
I'm in the mix
That's when I'm free
My release
- You got me dancing
- This is it
- Out here on the floor
- Out here on the groove
You keep me dancing
Coming back for more
- You got me dancing
- In the nightlife
Keep me going strong
- You got me dancing
- You got me dancing
- All night long
- All night long
- You got me dancing
- You got me dancing
- Out here on the floor
- On the floor
You got me dancing
Coming back for more
- You keep me dancing
- You, you, you, you
- Keep me going strong
- Going strong
I can't stop dancing
all night long
Can't stop, can't stop
No, no
Dancing, dancing
- You got me dancing
- You got me
- All night long
- All night long
- I can't stop
- I can't stop
You, you
Can't, can't
You got me dancing
Ahhhhh
Dancing, dancing
- You got me dancing
- You
- Out here on the floor
- You
You keep me dancing
Coming back for more
You got me dancing
Keep me going strong