Molly Rogers

Things like that that are really special that people have –

done their damnedest to get to us but we haven't gotten on a character i try to feature in the closet scene a scad student which is a fashion school in the u.s their students submitted their graduation fashion lines and i chose a dress to and you see it right there has feathers on it

There's a mannequin in the closet of something we were all in love with, a Gautier archive gown that had fishnet Eiffel Tower on it.

No one wore it in the movie, so we made sure it got in the closet.

Those kind of things I think are important, like they were on Sex and the City.

When she went into her closet, she was creating a moment, a magazine moment.

Watch Carrie style herself.

So those closet scenes I think are really looked forward to and people examine them.

I like to support that kind of thing.

Let's see.

I would say in the first movie, there were three design houses that said, we really can't participate.

We don't know what the backlash would be.

And for example, one

totally understood Mr. DeLaurenta, who was very, very close to Anna and had no idea how this was going to be portrayed or, you know, a loyal friend.

So, Pat just kept saying there's a lot of clothes in the world and Mr. Valentino was

was the first designer who saw Merrill on holiday in Italy and said, whatever you need, I'm here to supply.

So that was lovely.

So there was participation, but not like the second one, where this was, we've got to edit.

There's so much coming into this room.

We've got to be able to take all of these it bags and figure out which one you would want to see 10 years from now.