Patricia Field, a boutique owner turned Emmy-winning costume designer and stylist, is responsible for shaping some of cinema's most unforgettable looks from Carrie Bradshaw’s tutu to Miranda Priestley’s white hair, and Betty Suarez’ signature red glasses. As a gay, female, first-generation New Yorker in her 20s, the odds were stacked against her when she launched her eponymous New York retail store in 1966. The boutique became a fashion landmark and hotspot for celebrities and performers, emerging designers, and artists. Her store embraced inclusivity, which is popular with the transgender and underground community.

Transitioning to costume design, Patricia’s work includes “Sex and The City,” “Ugly Betty,” “Emily in Paris” (as a consultant), and “Run the World.” She also received an Oscar nomination for “The Devil Wears Prada.” Earlier this year, her memoir, Pat in the City: My Life of Fashion, Style, and Breaking All the Rules., was published. Film director Michael Selditch will soon release his documentary Happy Clothes, which showcases her creative process, unique career, and fashion principles.

Days at the Boutique

At your boutique, you met many people at a time before their careers took off, often helping them along the journey. How do you feel watching them evolve into the successful people they are now, especially knowing that you helped them along the way?
I am fortunate to have known and encouraged young people on their journeys along the way. Artistic talent has always been a main attraction for me.

You've been a mentor to many individuals in the fashion industry. What qualities do you look for in aspiring stylists or creatives that make you feel they have potential?
The main ingredient that catches my eye is creativity and a developed taste, which screams their potential.

Are there specific memories of helping someone that stand out as particularly rewarding or impactful for you?
I’ve been fortunate that my life experiences have been filled with young and talented people. It’s difficult to select a specific example or memory, but I have always been surrounded by the best and most imaginative.

How important are mentorship and guidance for newcomers in the fashion industry, and what role did it play in your own career development?
Mentorship for fashion newcomers is spotting and developing the already existing talent in young people. I have always surrounded myself with youthful creatives as I believe they have a voice that needs to be encouraged and heard.

Your boutique was the place to be, a hotspot for all. Can you think of anywhere that is the modern-day equivalent? Is there such a place nowadays?
My boutique was one of a kind in a time that no longer exists.

You are praised for your support of inclusivity and diversity, especially at your boutique frequented and accepting of all at a time when this was not the general sentiment. In what ways do you keep championing these values?
Not being a snob is easy. Snobbishness for me has always been boring.

The Documentary

You were initially hesitant to take part in the documentary. How do you view it now?
I am happy that I had the opportunity to help create it.

Describe your experience in watching the documentary for the first time? What was the setting and what feelings did it evoke in you?
The first time I watched the completed documentary was at the Lower Eastside Girls Club in New York City. To be honest, my satisfaction increasingly grows with each time I rewatch it.

Is there anything that surprised you about the process of making the documentary?Having had experience in TV and Film production, I knew what to expect going into the creation of the documentary including how long the process could take. No surprises here!

Lots of directors approached you before this film. What was it that made you go with Michael Selditch?
Selditch, the producer/director of the film, approached me with a sizzle reel that he created. By appealing to my creative and visual side of me, it was easy to envision the creation of this documentary.

Fashion

In the documentary, you spoke about how you don’t understand 2023 fashion. What do you think is missing and how can we get it back? What rules do we need to break?
It seems that today’s fashion depicts a time when the depressed economy rules. I feel strongly that fashion, as an artform, is best when it is optimistic and looking into the future. The last time this occurred was the early 60’s

In the documentary, it was raised that you are against following trends. How do you view social media’s impact on the increase of micro-trends and the pressure to follow them? In what ways does social media affect fashion, either positively or negatively?
As a general rule, I stay away from trends. Individuality is the most important component of any art form.

How has your style evolved over time, and what will always remain part of your style?
I had an extended period of time to display and enjoy my style. What will always remain as part of my style is fashion individuality.

You've crafted iconic looks for characters in “Sex and the City,” “The Devil Wears Prada,” “Emily in Paris,” and more. How do you approach designing costumes for characters that resonate with audiences? What is your process or philosophy?
I approach my work as a stylist optimistically,. I suppose that positivity and optimism are the key ingredients. It is important to be creative in your work so that the product entertains and is enjoyed by anyone that notices.

What advice would you give to aspiring costume designers or stylists entering the industry today?
My advice to aspiring costume designers and stylists is : BE BRAVE. BE CREATIVE. BE UNIQUE. Create your own combinations with a philosophy behind it.

Looking back at your career, is there any advice you wish someone had given you when you were starting out?
When I started out, the best advice I received was to pay your bills on time.

With the rise of sustainable fashion, what role do you believe costume designers should play in promoting eco-friendly practices within the industry?
Regarding sustainable fashion, costume designers must find the balance between visual creativity and eco-friendly consciousness.

How do you perceive the future of fashion, especially concerning sustainability and inclusivity?
The future of fashion is dependent upon the time is finds itself. If the time is optimistic, it will show up on the runway.

Highlights

Looking at your extensive career, what do you hope your legacy will be in the world of fashion and costume design?
I hope I contributed to the world of fashion and costume design and hope that I was able to entertain and shine a light on both.

What project or achievement are you most proud of in your career, and why does it hold a special place for you?
Pride is one of the seven deadly sins. Humility on the other hand, is more rewarding.

Article by Richelle Hodson, Contributor, PhotoBook Magazine
Tearsheets by Nicolas Harris, Graphic Design Intern, PhotoBook Magazine