Costume Designer Molly Rogers On “The Devil Wears Prada 2” Fashion
Our take
In the world of fashion, the role of a costume designer often transcends mere garment selection; it embodies the spirit and evolution of characters onscreen. Molly Rogers, who has stepped into the spotlight with her recent work on *The Devil Wears Prada 2*, exemplifies this transformative power of fashion in film. Having honed her craft under the legendary Patricia Fields on *Sex and the City* and the original *The Devil Wears Prada*, Rogers’ ascent to creative control marks a significant moment in her career and the industry at large. As she discusses her journey and her new collaboration with Macy's, her insights are not just about the clothes but about the narratives they weave. For more on the relationship between fashion and character development, check out Meryl Streep's Stylist Micaela Erlanger Talks Method Dressing For 'The Devil Wears Prada 2', where the importance of authenticity in styling is explored.
Rogers' approach to costume design is a harmonious blend of artistry and intention, reflecting a deep understanding of how visual aesthetics can amplify storytelling. In *The Devil Wears Prada 2*, she embraces the essence of each character while interlacing contemporary trends that resonate with today’s audience. This delicate balance of homage and modernity is crucial, especially in a sequel that carries the weight of its predecessor's legacy. As seen in the *The Devil Wears Prada 2* Press Tour Is In Full Swing, where Anne Hathaway and Meryl Streep showcased their sartorial elegance, the fashion choices made by Rogers are not merely about visual appeal; they serve as extensions of the characters' growth and journeys.
The significance of Rogers' work lies in how it cultivates a deeper connection between the audience and the film. Fashion is inherently an expression of identity, and in crafting the wardrobes for *The Devil Wears Prada 2*, Rogers has created a canvas that speaks to the evolution of personal style and empowerment. The costumes mirror the characters' internal transformations, allowing viewers to engage with their narratives on a more intimate level. As we reflect on the impact of these design choices, it is essential to recognize the role of costume design as a form of storytelling that invites audiences to not only witness but feel the story unfolding before them.
Looking ahead, the fashion landscape within film will continue to evolve, as will the voices of visionary designers like Molly Rogers. As she forges new collaborations and expands her creative horizons, it raises a compelling question: how will the next generation of costume designers further push the boundaries of storytelling through fashion? The intersection of style and narrative is rich with potential, and as audiences, we are invited to witness this unfolding dialogue. The world of costume design is not just a backdrop to the narrative but a vital component in how we understand and connect with the characters we adore. As we anticipate the future of fashion in cinema, let us remain attuned to the stories that are yet to be told through the art of costume design.
Molly Rogers is finally getting her due. After working under the tutelage of Patricia Fields on Sex and the City and The Devil Wears Prada, the costume designer has since taken creative control, leading the wardrobe department for both sequels — most recently, The Devil Wears Prada 2, which is already earning her widespread praise as it hits theaters today.
Though Rogers credits Fields for establishing each character’s style in the original 2006 film, she carried the fashion forward for the sequel. “It’s really the story the clothing is trying to tell — of a powerful editor [Miranda], a very ambitious Emily Charlton, and Andy Sachs, a reporter who is more mature but still a fish out of water in the fashion world,” the longtime costume designer tells TZR on a call. When it came to wardrobe, Rogers prioritized silhouettes that were equal parts practical and fashion-forward. “I think it's important in a fashion magazine office — and for subway commutes — that you have pieces that function but also feel feminine and colorful,” she explains.
Andy, for instance, traded her Chanel jackets and those iconic tall heeled boots from the original film for more tailored separates, such as Ralph Lauren blazers and vintage Jean Paul Gaultier suits. “Andy is very knowledgeable and smart, and she’s a New Yorker, but she's still much more of a left-brain writer than the Clackers [aka her Runway co-workers] around her,” Rogers says of the character. Still at the helm of Runway, Miranda’s wardrobe reflects her power at the magazine, with a focus on clean silhouettes, strong shoulders, and minimal adornment. Meanwhile, former Runway assistant Emily Charlton has leveled up her career, taking on a senior executive role at Dior — prompting her wardrobe to follow suit, with an edgy New York-meets-Paris sensibility.
In addition to the press circuit for The Devil Wears Prada 2, the costume designer is staying busy with other projects, including cooking up a Macy’s On 34th collaboration, set to launch May 6. As it turns out, those closest to her have been encouraging this partnership for quite some time. “My family had always said, ‘Why can't you do something with Macy’s? We want to be in the Thanksgiving Day Parade,” Rogers joked.
Much to the delight of her longtime fans, the forthcoming collection pays homage to some of her most well-known work. “We took the top hits and made it a Macy’s vibe,” Rogers says of her approach to the line. “That was really fun for me, because I had a lot of inspiration, as you can imagine, to pull from,” she adds. Naturally, the assortment includes a cerulean blue duster coat — a nod to the now-viral knit in The Devil Wears Prada. Meanwhile, a pink tiered skirt calls to mind Sex and the City’s opening credits.
Speaking of Sex and the City, the costume designer gushes about how proud she is to have worked with Fields on the iconic series. “I took a lot from her through osmosis, and I tried to honor her aesthetic, because it is my aesthetic as well. We were downtown girls together, and I think that’s reflected in Carrie’s wardrobe,” Rogers notes, adding that the character’s beloved newspaper dress will always be a favorite of hers. That creative partnership has also led to some of her most surreal, pinch-me moments. “Sitting at the Oscars with Patricia Field when she was nominated for The Devil Wears Prada — there we were, two wild and crazy girls,” she recalls.
As for what’s next for Rogers? “I am gonna go work on my tan,” she shares with a laugh. After the whirlwind year she’s had, who could blame the costume designer for taking a well-earned break? For now, though, she’s keeping a close eye on what the masses will sport to see The Devil Wears Prada 2 in theaters. “I hope they come to Macy’s, pick something to wear, and enjoy the movie.”
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