For Rogers, though, the experience was more nostalgic than nerve-racking.<\/p>\n
\u201cIt was like coming back to summer camp,\u201d she said of the production.<\/p>\n
On a recent morning at the Four Seasons Hotel in Lower Manhattan, Rogers went over sketches for six pivotal costumes from \u201cThe Devil Wears Prada 2\u201d \u2014 and one that didn\u2019t make the cut.<\/p>\n
Vision in Red<\/p>\n
At Rogers\u2019s first meeting with Streep, Miranda\u2019s gala look came up, and both had the same immediate thought: \u201cIt has to be red.\u201d<\/p>\n
\u201cAnd she\u2019s the one who said, \u2018Let\u2019s do a sleeve on one arm and bare on the other,\u2019\u201d Rogers said of Miranda\u2019s asymmetrical gown, which is a custom-made Balenciaga in red silk super taffeta. \u201cIt\u2019s so fabulous.\u201d<\/p>\n
The dress, which features a tilted collar and a thin matching belt, was built in Paris, with a team from Balenciaga flying to New York City twice to fit Streep for it.<\/p>\n
At one point the actress suggested trying a hat to top off the look \u2014 possibly a nod to horns \u2014 but Rogers said she knew it was \u201cgilding the lily.\u201d<\/p>\n
\u201cIt was her white hair alone that the red gown should frame,\u201d she said.<\/p>\n
Party in the Back<\/p>\n
As Runway magazine\u2019s new features editor, Andy is back in the same orbit as her frenemy and fellow ex-assistant, Emily Charlton (Emily Blunt), who\u2019s now an executive at Christian Dior. To solve a crisis at the magazine, Andy agrees to an expansive feature on the company, whose advertising dollars Runway needs.<\/p>\n
For Andy\u2019s interview look, Rogers opted for a black button-down Jean Paul Gaultier pinstriped vest, paired with matching slacks, a pearl necklace \u2014 and nothing underneath.<\/p>\n
\u201cI was constantly trying to balance found things with things that she could have afforded and that she would wear as a professional reporter,\u201d Rogers said.<\/p>\n
There\u2019s also a surprise when Andy turns around: The vest has an all-white silk back.<\/p>\n
\u201cI loved that,\u201d Rogers said.<\/p>\n
Caped Betrayer<\/p>\n
For a scene involving a backstabbing Emily, Rogers went with a sequined Dior houndstooth power suit \u2014 with a Zimmermann leather capelet.<\/p>\n
\u201cI tried to find Dior pieces that have a little edge to them,\u201d Rogers said of the black-and-white wool number from the spring 2026 collection.<\/p>\n
Emily\u2019s style in the sequel, she said, was an extension of the first: The character still has a mix-and-match aesthetic, pairing, for instance, a white Dior button-down with a Wiederhoeft corset and Gaultier black-and-white pinstriped pants.<\/p>\n
\u201cWe didn\u2019t have enough outfits for her,\u201d Rogers said. \u201cI think she changed 16 times.\u201d<\/p>\n
Editor Chic<\/p>\n
One lesson Rogers has learned in more than 40 years working with Field, she said, is that \u201cyou cannot force an actor to wear anything.\u201d<\/p>\n
\u201cYou can have your heart set on a gown that you want in a scene and think it\u2019s the perfect color, but you\u2019re not the one in it,\u201d she said. \u201cPat\u2019s fittings, and mine as well, are very collaborative: Do you like what I brought into the room? How does it feel on you?\u201d<\/p>\n
So when she came across this homey, tasseled Dries Van Noten jacket, she crossed her fingers that Streep would dig it.<\/p>\n
Streep did.<\/p>\n
\u201cShe thought it was a great piece for the right scene,\u201d Rogers said. \u201cI thought it had enough oomph to it to still be in the office, and it looked like \u2018editor.\u2019 It made me think of Diana Vreeland,\u201d once the editor in chief of Vogue.<\/p>\n
Andy\u2019s gala look inverts the movie\u2019s through-line of sleeveless pieces layered atop button-ups and blouses: Here the base layer, a blouse from the Armani Priv\u00e9 fall 2024 couture collection, is sheer, tucked beneath a black silk velvet jumpsuit with pinstripe Swarovski crystal suspenders.<\/p>\n
\u201cIt came down the runway without a blouse, and I was like, David\u2019s never going to let me do that,\u201d Rogers said, referring to the director, David Frankel. \u201cAnne Hathaway at the dinner table with no blouse on \u2014 how cool would that be? But they made us a beautiful sheer blouse.\u201d<\/p>\n
Another hat that appeared in Rogers\u2019s initial sketch bit the dust: a velvet Armani beret with jet-black glass stones.<\/p>\n
\u201cI am a hat fighter,\u201d Rogers said. \u201cI\u2019ve gone through big hat fights, with Sarah Jessica Parker and I fighting for hats on TV shows. They always don\u2019t want to light them, or they cast shadows, blah blah blah, and it always unfinishes an outfit.\u201d<\/p>\n
Though the beret for Andy was fabricated, she said, \u201csure enough, they killed it.\u201d<\/p>\n
Human Disco Ball<\/p>\n
When Miranda saunters through the Galleria Vittorio Emanuele II, Milan\u2019s stunning historic shopping arcade, the lights shimmer off the colored crystals and black sequins on her Armani overcoat, turning her into a human disco ball.<\/p>\n
\u201cWhen I read the script, I was like, \u2018That needs to dazzle,\u2019\u201d Rogers said of the statement piece from Giorgio Armani\u2019s Priv\u00e9 spring 2025 couture collection, which she layered over a tie-neck Lurex Oud blouse and black trousers.<\/p>\n
It was a choice she initially had some trepidation about.<\/p>\n
\u201cI was afraid of the pussy-bow blouse on Miranda Priestly,\u201d she said. \u201cBecause that feels soft to me. But it was such a cacophony of colors and textures, and I felt like it was strong enough.\u201d<\/p>\n
Miranda\u2019s black cat-eye Prada glasses are striking, of course, but Rogers said the boldest accessory was her side-swept white hair.<\/p>\n
\u201cI think that there was great resistance to that,\u201d Rogers said. \u201cPeople didn\u2019t understand that.\u201d<\/p>\n
The look was drawn from that of the fashion editor Polly Mellen and the model Carmen Dell\u2019Orefice.<\/p>\n
\u201cMeryl and Pat insisted on it,\u201d Rogers said.<\/p>\n
Power Gloves<\/p>\n
Emily\u2019s gala dress \u2014 a strapless Dior gown with a nude tulle and black lace corset top, matching opera gloves and a slinky black satin skirt with a double side bow \u2014 was Rogers\u2019s favorite look from the film. Alas, it ended up on the cutting-room floor.<\/p>\n
Still, she said, she loved getting the chance to bring an edge to a very un-Emily-like shape.<\/p>\n
\u201cWhen I think of Dior and bows, I think of Charlotte,\u201d Rogers said of the preppy \u201cSex and the City\u201d character. \u201cSo to take a Dior bow and make it look \u2014 there\u2019s a bit of a goth idea there. And I thought that was really appropriate for her character.\u201d<\/p>\n
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<\/p>\n
Sarah Bahr<\/p>\n
Senior Staff Editor<\/p>\n
The costumes from the first “Devil Wears Prada” film are iconic, from Andy’s cerulean sweater to her tweed cap. I keep wondering how a wardrobe today even begins to compete with that kind of nostalgia without just being a cut-and-paste.<\/p>\n