Happy Clothes: A Film About Patricia Field (2023)

[bunniefuu]

[echoing bubbles, drips]

Just another loose cannon

in a strange w*r

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 f*ck 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 w*r 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 sh*t.

[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,

ba*ls 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 w*r movie

or a vampire movie

or some kind of m*rder

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 a*s off on that episode.

Yeah, everything

was like custom-made.

She really went

ba*ls to the walls on that.

Yeah, like, f*ck 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 w*r.

- 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 g*y,

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 c*ck'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,

"b*tch, 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 f*ck 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 f*cked 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 g*y 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 sh**t 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 q*eer

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.

- sh*t.

- 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, sh*t."

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 sh**t.

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. sh*t.

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 f*cked 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 f*ck 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 a*s. 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 c*ck.

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-f*cking-lutely!

We have to get

a full body shot.

Yes, this is hot.

And what's my f*cking 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 sh**ting

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 sh*t down

We show up

Then we shut sh*t 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 k*ll 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