Uncovering the Original Artworks and Vintage Finds in Carrie Bradshaw’s Gramercy Park Townhouse
The set decorator and production designer behind And Just Like That reveal where they found inspiration for the home's interiors
While And Just Like That is coming to an end with the season three finale, an undeniable highlight of the series has been Carrie Bradshaw’s new Gramercy Park townhouse, a circa-1846 Greek Revival dwelling that transforms with each episode. Galerie spoke to the show’s set decorator, Karin Wiesel Holmes, and production designer, Miguel López-Castillo, to learn more about the interior design of the historic abode, including the many artworks and decor displayed throughout.
Holmes and López-Castillo looked to various sources of inspiration when designing the interiors of Bradshaw’s new apartment, starting with the origins of the townhouse. “We knew that the exterior location was going to be in Gramercy Park, in a historic block with a distinctive period style. I researched the actual building and its history and found out that the interiors had been largely modified or renovated, so I knew we had to look for reference elsewhere,” López-Castillo explains to Galerie.
“The design grew from season two to three, and is in no way a museum reproduction. It followed the scripted needs as described by [showrunner] Michael Patrick King, and it only matches the exterior location as it pertains to the size and design of the exterior doors and windows in the facade and entryway. I found Greek Revival details in other townhouses from the West Village and in the arched entryway of the Morris-Jumel mansion in upper Manhattan.”
Overall, adds López-Castillo, the goal was to establish a “clean and simplified aesthetic using plaster mouldings from the era, before a Victorian style introduced heavy woodwork, dark wallpapers, and stone mantels.” The design team found a Federal-style mantelpiece from a salvage company and had it refurbished. The columns and pilasters visible in the parlor and the upstairs hallway were carved by American Wood Column for And Just Like That.
Holmes echoes similar sentiments, adding that the showrunner’s input was a guiding force. “For as many times as we ask ourselves, ‘What would Carrie do?,’ we also have to consult our showrunner for direction to ensure our work supports the storyline visually. In an early episode, Carrie notes that her chaise fabric would take six months to arrive, so we needed to find some fabric that was worthy of the wait. We searched everywhere. Then, when nothing seemed suitable, we made our own fabric out of mismatched vintage ribbons, which also felt the most Carrie.”
The set decorator adds that it’s safe to assume that Bradshaw sourced art and furniture for her apartment from flea markets, vintage stores, and thrift shops. “There are a number of notable works on display in Carrie’s home,” says Holmes, “with significance to the show and its history.”
The very first painting the design team purchased for this season was a mid-century cityscape by Anton Weiss, which Sarah Jessica Parker spotted in the window of Housing Works. “Though I lost the auction at the last minute, luckily the original bidder backed out, and it was ours,” reveals Holmes. “The Chesley McLaren Parfum bottle print in Carrie’s closet is another sort of Easter egg, as is the reappearance of a photograph by Harriet Zucker from Carrie’s apartment in the original series. A third example is the “flea market” painting introduced in season two at the “last supper,” which starts out in Carrie’s office, then moves throughout the home before finding its place of honor above the mantel in the parlor.”
Additionally, there are images by Ruth Orkin and original artworks by Vera Neumann sprinkled throughout the apartment. Holmes was able to feature these pieces after connecting with Greg Sharp, who manages Neumann’s estate. There are also numerous nods to Carrie’s new neighborhood, such as a Bernice Abbot photograph and a painting titled Dusk, Gramercy Park by William Crozier. Lastly, in the guest room, there is a drawing of the New York Public Library by Susan Meisel, which represents the artist’s and Parker’s mutual love for literature and Manhattan.
On August 1, King announced that the HBO Max series would be ending with a two-part finale.