There is something profoundly poetic—and slightly absurd—about the fact that you can now pay a premium to own an empty designer shoe box once touched by Carrie Bradshaw. It is the ultimate realization of the Sex and the City ethos: the brand is no longer about the clothes or the relationships, but the carefully curated idea of a lifestyle. As Julien’s prepares to auction off over 500 lots from the sequel series And Just Like That…, we aren’t just seeing a sale of props; we are witnessing the liquidation of a cultural fashion empire.
- The Haul: Over 500 lots including high-fashion pieces from Charlotte, Miranda, Seema, and Lisa Todd Wexley.
- The “Carrie” Gap: While Sarah Jessica Parker’s actual wardrobe is off-limits, fans can bid on her writing desk, vintage suitcases, and even her home intercom panel.
- The Strategy: A tiered pricing model designed to attract first-time bidders with items under $100, while anchoring high-end props like a prop Rolex at $5,000.
The Art of the “Almost” Icon
From an industry perspective, the most telling detail of this auction is what isn’t there. The fact that Carrie’s clothing is not for sale is a masterclass in brand preservation. By withholding the actual garments, the production keeps the “Icon” untouchable. You can’t buy the dress that defined a scene, but you can buy the wooden hanger it hung on. It transforms the auction from a wardrobe sale into a scavenger hunt for fragments of a fantasy.
The inclusion of the “lifestyle” debris—empty jewelry boxes and a Peloton water bottle belonging to the late Mr. Big—is where the PR strategy gets clever. It pivots the event from “luxury fashion sale” to “emotional archive.” The most poignant lot isn’t a Prada coat, but a condolence card from the estranged Samantha Jones, offering a tangible piece of the show’s most publicized off-screen tension.
Monetizing the Finale
This move by Warner Bros. Discovery is a classic post-finale play. After the series took its final bow last year, the goal shifts from viewership numbers to long-tail monetization. By pricing some items conservatively, the auction house is democratizing the “SATC” experience, ensuring that the brand remains in the public conversation long after the credits have rolled.
There is, however, a necessary grounding in the spectacle. The announcement that a donation will be made to You Gotta Believe in honor of the late Willie Garson provides a moment of genuine reflection amidst the consumerism. It reminds the audience that while the clothes and the furniture are props, the impact of the performers was real.
As the live event unfolds in Gardena on April 30 and May 1, the industry will be watching the final hammers fall. Whether it’s a $4,000 Louis Vuitton bag or a $50 keepsake, this auction proves that in the world of prestige TV, the story doesn’t end when the episode does—it just moves to the auction block.
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