Two years after the end of the influential series "Sex & the City", costume designer Patricia Field returns to the world of fashion in the film "The Devil Wears Prada": Meryl Streep, Anne Hathaway and Emily Blunt tell us about the behind-the-scenes of an editorial team inspired by American Vogue. The hell of fashion, myth or reality? Decryption in the company of three fashion journalists.
(Cover photo credit: Meryl Streep in “The Devil Wears Prada” - photo IMAGO / Everett Collection)
The pitch: Runway, this merciless universe
The action takes place in New York. Young Andrea "Andy" Sachs surprisingly gets the job of assistant to the editor-in-chief of the powerful fashion magazine Runway. Andy is inexperienced, dreams of being a journalist and has little interest in fashion trends. She shares her office with Emily Charlton, a fashion enthusiast who bends over backwards to meet the excessive demands of their boss Miranda Priestly. She is a woman of influence, formidable and feared. Fashion holds no secrets for her and for good reason: she is the one who does it. The job is tough, and if Andy is regularly mocked for her style, she will quickly get used to this new world where fashion and clothing are kings...
"The Devil Wears Prada" is a film by David Frankel released in 2006. It is adapted from the best-selling book of the same name, published in 2003 by Lauren Weisberger. The cast includes Meryl Streep, Anne Hathaway, Emily Blunt, Stanley Tucci and Simon Baker. The costumes are by Patricia Field, already noted for the now cult series "Sex and the City" .
In the series of films devoted to the world of fashion , one can certainly prefer the cinematic style of Robert Altman – “Prêt à porter” in 1994. But in the genre, “The Devil Wears Prada” has its own arguments, and the art of costume in cinema at work here is certainly not unrelated.
Patricia Field's Costumes and Style
The costume designer for "The Devil Wears Prada" became a legend in the late 90s with her work on the series "Sex and the City". How can we evoke the world of fashion and its editorial teams, if not through the words of those who live it from the inside?
To decipher “The Devil Wears Prada,” I went to meet fashion editors: Clément Laré from Stylist magazine and Nina Boutléroff, a freelance journalist who regularly writes for Elle magazine . To complete the team: my colleague Nawal Bonnefoy, who is behind most of our content dedicated to women’s fashion (but not only). They tell you, each in their own way, what makes “The Devil Wears Prada” so interesting.
Clément Laré: “Stylist Patricia Field is an icon for many people . What I remember about her work is that her influence goes far beyond cinema. She is very, very respected in the fashion world, much more so with “Sex and the City” than with “The Devil Wears Prada”. It must be said that with “Sex and the City”, Patricia Field really created and influenced trends alongside Sarah Jessica Parker. Each piece seen on the characters was a hit, so much so that brands fought to appear in the series.
However, the costumes from "The Devil Wears Prada" are also iconic. We saw this again very recently when Anne Hathaway arrived at the Michael Kors show in New York with bangs and a look (leather jacket and skirt, turtleneck sweater) that resembled those of Andy Sachs. The entire Internet went wild over this outfit because it suddenly felt like we were seeing the character from "The Devil Wears Prada" again. This is proof among others that the looks that Patricia Field created for the character and for the film in general are anchored in people's imagination . They have left their mark on everyone who has seen and loved the film.
Nina Boutléroff: “I really like Patricia Field’s work, especially what she did on the series “Sex and the City”. It’s completely pioneering. It’s also a work that stands in time. We remember both the ultra-modern outfits and characters . This also applies to the characters in the film “The Devil Wears Prada”.
What is interesting to see, for example, is that the outfits of the heroine played by Anne Hathaway at the beginning of the film are much less strong than those of her colleague Emily . This is normal in the sense that it goes with Anne Hathaway's character: she is supposed to be intellectual, shy, introverted. There is also something a little cliché in that because at first she wears somewhat beige, ordinary outfits, without personality. Her style will later become more fashionable, more cutting edge.
BEFORE: Anne Hathaway's debut in "The Devil Wears Prada," 2006. (IMAGO / Everett Collection)
AFTER: Anne Hathaway's new look in "The Devil Wears Prada," 2006. (IMAGO / Everett Collection)
Nawal Bonnefoy: "The outfits from "The Devil Wears Prada" could be worn today, 17 years later. Not so much because the fashion of the 2000s is making a comeback, but rather because there is in the costumes of the film a search for style that is both sharp and timeless .
I'm thinking for example of Meryl Streep's character, who wears bags and coats that were very much in keeping with the era when the film came out but at the same time have impeccable cuts that are, even today, very elegant . Emily's character, who is Miranda Priestly's number 1 assistant in the film, has a slightly more gothic/rock style while still being very sharp: mini-dresses, leather, a total black look. All of this goes very well with her character. But the most important thing is of course Anne Hathaway's character, and in particular her makeover phase where she finds herself wearing Chanel and other luxury brands.
I think back to that fabulous scene, when she's walking down the streets of New York: she has an outfit for every new shot and they're really fantastic looks. There's the perfect balance between fashion trends and a real timelessness . These are looks that haven't aged a day. It's all the more remarkable because when you rewatch it, many films from the 2000s don't bring much to the table from a stylistic point of view: they're kind of time capsules marked by the fashion of the 2000s, but which don't allow you to project yourself into today's fashion."
Luxury brands, image and inclusiveness
The brand universe of "The Devil Wears Prada" is strongly anchored in the luxury and designer world. If the film is not free of some stubborn clichés on the subject, what should we think of the image of women conveyed by these brands? Would the evolution of society, particularly on inclusivity, tend to change the situation?
On the other hand, I don't think there is a typical physique or personality for these brands. There are brands for which this is the case. I'm thinking for example of Saint Laurent or Celine by Hedi Slimane, where the women remain very (too) thin. The style of these brands wants the models to always be slender. These are brands that are still very resistant to more inclusivity on the catwalks.
The brands featured in "The Devil Wears Prada" are more in tune with the times. They certainly had skinny models on the catwalk in the 2000s, like everyone else . But things are finally changing, even if still too slowly for European brands. Conversely, castings in New York are very inclusive. In Europe, mainly in Milan and especially in Paris, it's long, it takes time, but things are finally starting to change and brands like Chanel, Prada or Dolce & Gabbana are taking over.
On the other hand, it is true that these are brands with a recognizable style and silhouette . We know the Chanel silhouette: it's the tweed suit. The same goes for the others: very cerebral minimalism at Prada or very sexy Italian at Dolce & Gabbana.
Nina Boutléroff: “The effort to represent brands goes well beyond the work of fashion editors. It is also the responsibility of fashion houses. The Chanel woman, the Dior woman: these are somewhat old-school images and discourses that have shaped fashion for years . Today, things are changing: we need to open up to more inclusivity, to make clothes for everyone, not just for a certain type of woman or a certain typology of woman , who is moreover in a form of elitism and therefore rejection of some other women. But I also think that this phenomenon concerns all backgrounds and all professions.”
The world of fashion yesterday and today
Beneath its airs of a polished romantic comedy, there is something relatively ferocious in "The Devil Wears Prada": the film depicts a world that is sometimes cruel and often obsessive about style and detail . Has it helped to shape an image of the fashion world among the general public? And has the situation changed in fashion and editorial offices since the success of the film?
Clément Laré: “The film has really influenced the public on what they imagine the world of fashion to be. For people from the outside, who don’t work in this environment, we sometimes have the impression that all fashion editorial offices resemble those of “The Devil Wears Prada”. Fortunately, this is not the case . Was it ever the case? Sure. Is it still the case? In some places, for sure. But it should be noted that the world of journalism and the press has changed and that new generations have arrived. They have a different relationship with the world of work, they perhaps let fewer things slip by.
Today, for example, no one would accept being at the mercy of a tyrannical boss like the one in "The Devil Wears Prada" . On the other hand, it is likely that the image of fashion editorial staff is "The Devil Wears Prada" for the general public. The film really helped to shape this vision. I can reassure those who are worried: for the vast majority of us, we do not have a tyrannical editor-in-chief who forces us to go and get the latest Harry Potter book or twelve coffees a day.
Nina Boutléroff: "We have to differentiate between fashion and fashion editorials . If the film can seem so clichéd, it's because it's an American film and the script has to live up to it. The film is very much inspired by the editorial staff of American Vogue. I've never worked at Vogue myself, but I think that the atmosphere, the bickering or the way the boss treats her employees exist or have existed. However, it's neither specific to fashion editorials nor to fashion houses .
In the film, we discover a feminine environment, with something a little old-fashioned against which we try to fight a little more today with small layers of sisterhood: it is this cliché which consists of saying that women among themselves cannot get along well . That, unfortunately, is true. It exists. But I also have the impression that it fades a little at this level with the younger generations, notably in terms of competition. After that it is true, it is not just a cliché: fashion remains an environment where egos are enormous .
The older generation was used to a lot of pomp, means, glitter, etc. Even just taking a plane to attend the shows in New York, Milan, etc. Today, the question of carbon footprint hangs over our heads. So yes, it is an environment where the egos that have known the golden age of fashion are very oversized.
For example, it is very trendy in this environment to complain, to say that the buffet is disgusting when you are at the Ritz or to travel by taxi to go 500 meters. But this remains a minority. For toxic relationships at work, it is the same thing. It is something that tends to disappear.
For my part, I have the impression that consciences are waking up a little, whether they are environmentalists or feminists . I hope that it will continue in this direction. There is certainly a lot of truth in "The Devil Wears Prada" but there is also a lot of scriptwriting : the film romanticizes real life and this universe belongs a little to the world of before, at least I hope so.
Nawal Bonnefoy: "For my part, I wouldn't say that the film allowed us to discover how ruthless the world of fashion can be. Firstly because the film is based on a best-seller that came out a few years before, which is even more telling. The author actually worked as an assistant to Anna Wintour, the editor-in-chief of American Vogue.
So she was already describing this universe and it was never a secret that fashion could be a complicated world. In the end, I'm not sure that the general public really formed an image of fashion with the film. People know very well that it remains a fiction and that it is quite romanticized .
There is also a whole section of the film that shows that many people work in the shadows in this environment, and also that there is a form of art behind the clothing profession . It is not all negative. As for fashion editors, I am not sure that the situation has changed with the success of the film. What I do think, however, is that life is much more nuanced than what we can see on screen .
The key moment: the makeover stage
One of the most astonishing things to see in "The Devil Wears Prada" is, of course, the makeover of its main character. What does it say about our relationship with fashion and clothing? And do you really have to be stylish when you work in a fashion editorial office ? While Emily Blunt's character has a pretty definitive idea about the question of style and her job, the subject divides our guests.
Runway is a fashion magazine, so being interested in fashion is crucial!
Clément Laré: “Anne Hathaway’s change of look is one of the highlights of the film. The makeover exercise is present in many films from this period, from the end of the 90s to around 2010. For fans of the genre, the main heroine’s makeover is even a very important moment. In the film, Anne Hathaway’s outfits are incredible. But what’s quite funny is that with the fluctuating trends, the initial outfit, with a plaid skirt and blue sweater, could very well be found today on an Instagram influencer .
Personally, I am lucky to work in web fashion journalism. There are no usual constraints. I don't have to wear suits, for example. I have never been criticized for the way I dress. It's a fairly free world. Clothing is really a way of expressing yourself . I also think that the time when a fashion journalist was necessarily expected to be dressed in the latest brands is completely over.
Firstly, because today more than ever, we are all very precarious. So we don't all dress in Chanel. And above all, we know that fashion is a means of expression for people. Everyone is free to dress as they wish. Afterwards, of course, when you are interested in fashion, you also like to experiment with it . But there is no spirit of the type "You can't come here like that, you have to be stylish with the latest Chanel boots" like in "The Devil Wears Prada". Fortunately, that is no longer very relevant."
Nawal Bonnefoy: "At the beginning of the film, Anne Hathaway is dressed in a very classic way. Her first look is portrayed as the worst look in the world . In reality, she has a very simple blue sweater, a shirt with a collar sticking out and a skirt that is certainly a bit "granny-ish", not very elegant and a bit long in checks, but it's not awful either.
With the transformation, her character becomes a real fashion beast, a fashionista . The first look of "her after style", with Chanel leather thigh-high boots that go up so high that you can barely see the tip of her thigh, is simply incredible. It's the work of Runway magazine's stylist, Nigel, played by Stanley Tucci. It's a look a bit like Kate Moss: elegant, folk, chic , with large gold sautoir necklaces, big boots that go up, and Gavroche-style headwear revisited by great designers.
I now work full-time in a fashion editorial office at BonneGueule. It definitely inspires me. Especially since I only work with boys. In fact, I tend to look at more "masculine" pieces than what I might usually wear. I've started wearing flat loafers, for example.
When you work with people who love fashion, it also encourages you to get ready in the morning, whereas before, when I worked in a news channel editorial office, I was more practical. I paid less attention to it, I didn't see any problem, for example, in coming in jeans, a t-shirt and Converse . I wouldn't do the same thing today: I make more of an effort to get dressed in the morning. In the end, no matter what job you do, clothing is unconsciously part of our lives . It's about not completely transforming yourself to be consistent with your environment. But I think that our style evolves quite naturally with what we do on a daily basis.
Nina Boutléroff: "For my part, I honestly want to say yes: working in fashion influences the way I dress . You have to adapt your outfits to the circumstances. But I imagine it's a bit the same for everyone. If I have meetings with a fashion house, an interview with a designer or even a fashion show, I will of course adapt my outfit accordingly.
An editor once told me: being a fashion journalist is, for a lot, a question of image . There is indeed a job of representing the magazine, especially when you are a famous and renowned magazine . It is part of the duties of the fashion editor to be well dressed.
However, being well dressed is also subjective . I think that you have to respect your style, not turn into someone else . On the other hand, in the mouth of my editor-in-chief, being well dressed meant “having a neat outfit”. Which does not necessarily mean wearing heels or being overdressed.
Also, depending on the show you're attending, you won't dress the same way if it's a Chanel show or a Marine Serre show. I'm sure that fashion editors unconsciously adapt their outfits depending on the house they're visiting . It's a bit like in everyday life. Some people with a stronger personality or style won't deviate from their usual style. Others will adapt their outfits depending on the mood. It's like when you go to a rock concert or an opera: you dress accordingly, to feel in tune with the atmosphere. At least that's what I do for my part."
Why watch the movie again today?
If you're still hesitant about watching "The Devil Wears Prada" again, Clément, Nina and Nawal give you the broad outlines of their arguments to get you started watching the film. Unsurprisingly, Meryl Streep's performance is a huge factor. But fortunately, the film is not just an acting number.
Clément Laré: "Despite the fact that the film is a bit harsh on the world of work, it made many people dream, and some even became fashion journalists. "The Devil Wears Prada" remains a reference in fashion and pop culture . It's a cult film, very funny at times and sometimes a bit cruel too. But that's also what makes you laugh.
It's a very good feel-good film, one of those you watch on Sunday evenings . It's very well acted and directed and I think it's still relevant in the sense that it deals with subjects that are still relevant beyond the world of fashion: the relationship and investment in work, the balance between private and professional life.
In short: how far are we willing to go for a career? These are current and fairly universal questions. And then, of course, there is Meryl Streep in the cast, in one of her best roles . For that alone, and also for the iconic costumes, it is worth rewatching the film.
Nina Boutléroff: "It's a very good romantic and initiatory comedy . We observe the evolution of the main character but also of the relationships between colleagues. The film promotes self-affirmation in particular . It's something quite inspiring in my opinion. This type of message is always good to take, even if it's done in a somewhat clichéd way.
I would also recommend it for the looks and the work of the stylist , even if it is a bit exaggerated, especially at a time when we are experiencing a big revival of the 2000s. I am thinking in particular of certain Balenciaga looks from that time, with the famous it bag of the 2000s. It has also been reissued and this trend is starting to come back.
If Patricia Field went a bit too far on some looks, that's precisely what makes the style developed in the film interesting: the dresses, the big belts, the fashion of the late 90s and early 2000s. It's a fairly timeless film, especially through the story of this young woman who asserts herself . It's a lesson that can be applied to all moments in life. The film is finally relevant from a fashion point of view. We can observe what has changed, what still exists, etc.
Nawal Bonnefoy: "The film can definitely be watched by someone who doesn't particularly like fashion: it's above all a comedy, with a touch of romance. The action takes place in the world of fashion but it can speak to everyone : it's the story of a young woman who begins her career in an environment that is quite foreign to her, even downright hostile.
It's also one of the films that catapulted Anne Hathaway and Emily Blunt to superstardom , especially Emily Blunt who was virtually unknown at the time. It's the debut of both actresses and they play very well. And then there's Meryl Streep, in the role of the big baddie, and that's worth all the arguments in the world. Even if you don't like fashion, the film can give you a little taste of what it can be like . Finally, it should be noted that the soundtrack is pretty cool, with a lot of Madonna and pop songs in it.
