"And just like that..." has an obsession with logos
Clothes in the series often serve as plot points and are more memorable than any dialogue.
And just like that, the stealthy wealth, the aesthetic made viral by "Succession", with its toxic billionaires in their Loro Piana baseball caps and Tom Ford hoodies locked in a C-suite cage deathmatch, was swept off-screen.
In its place: logomania, branding that can be seen from every block and props that tingle and shine with the blinding light of bragging rights.
The outfits, i.e. from Carrie and Co. in season 2 of "And Just Like That...", the reboot of "Sex and the City" recently arrived at Max - the banner which, precisely, also gave us the Roys in their greige cashmere. Both shows are set in New York, the homeland of activists and entrepreneurs, of "Washington Square" and Wharton, of ever-changing social castes, heavily and literally invested in their own identifiable camouflage.
If watching "Succession" was partly like engaging in a detective game to figure out which character wore which brand, then insiders were fashion politics, watching "And Just Like That... is like witnessing brandapalooza: the double Cs and Fs and Gs practically knock you over the head with their presence. (Warning: spoilers are coming.) All the over-the-top fashionistas are back. Room-sized closets!
It's the yin of yang "Succession": a true celebration of comforting aspirational dreams of self-realization ( or self-escapism) embedded in things that may actually be the most striking part of an increasingly stale series. Certainly the clothes, which often serve as plot points, are more memorable than any dialogue.
Well… except maybe for that line instantly classic in Episode 1, uttered by Lisa Todd Wexley (Nicole Ari Parker) en route to the Met Gala in reference to her dress and feathered hat: "It's not crazy, it's Valentino." But that's the exception that proves the rule.
There's Carrie (Sarah Jessica Parker), with her multiple Manolos and Fendis, healing himself by shopping, returning home one day with six Bergdorf Goodman bags. Charlotte (Kristin Davis) carrying her Burberry dog poo bag (which also had a Burberry apron and Burberry earmuffs) and lamenting that her teenage daughter snagged her Chanel dress to fund her musical aspirations.
Lisa Todd Wexley drops her kids off for camp in a bright green Louis Vuitton jacket and scarf. And Seema (Sarita Choudhury), the character who passes for an understated dresser thanks to her penchant for neutrals (and the occasional animal print), loudly laments the theft of her caramel-colored Hermès Birkin — one of her totems. of self, ripped straight from his hands.
Clothes in the series often serve as plot points and are more memorable than any dialogue.
And just like that, the stealthy wealth, the aesthetic made viral by "Succession", with its toxic billionaires in their Loro Piana baseball caps and Tom Ford hoodies locked in a C-suite cage deathmatch, was swept off-screen.
In its place: logomania, branding that can be seen from every block and props that tingle and shine with the blinding light of bragging rights.
The outfits, i.e. from Carrie and Co. in season 2 of "And Just Like That...", the reboot of "Sex and the City" recently arrived at Max - the banner which, precisely, also gave us the Roys in their greige cashmere. Both shows are set in New York, the homeland of activists and entrepreneurs, of "Washington Square" and Wharton, of ever-changing social castes, heavily and literally invested in their own identifiable camouflage.
If watching "Succession" was partly like engaging in a detective game to figure out which character wore which brand, then insiders were fashion politics, watching "And Just Like That... is like witnessing brandapalooza: the double Cs and Fs and Gs practically knock you over the head with their presence. (Warning: spoilers are coming.) All the over-the-top fashionistas are back. Room-sized closets!
It's the yin of yang "Succession": a true celebration of comforting aspirational dreams of self-realization ( or self-escapism) embedded in things that may actually be the most striking part of an increasingly stale series. Certainly the clothes, which often serve as plot points, are more memorable than any dialogue.
Well… except maybe for that line instantly classic in Episode 1, uttered by Lisa Todd Wexley (Nicole Ari Parker) en route to the Met Gala in reference to her dress and feathered hat: "It's not crazy, it's Valentino." But that's the exception that proves the rule.
There's Carrie (Sarah Jessica Parker), with her multiple Manolos and Fendis, healing himself by shopping, returning home one day with six Bergdorf Goodman bags. Charlotte (Kristin Davis) carrying her Burberry dog poo bag (which also had a Burberry apron and Burberry earmuffs) and lamenting that her teenage daughter snagged her Chanel dress to fund her musical aspirations.
Lisa Todd Wexley drops her kids off for camp in a bright green Louis Vuitton jacket and scarf. And Seema (Sarita Choudhury), the character who passes for an understated dresser thanks to her penchant for neutrals (and the occasional animal print), loudly laments the theft of her caramel-colored Hermès Birkin — one of her totems. of self, ripped straight from his hands.
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