(who has presumably achieved success in her media career since we last saw her) likely treat herself to a designer bag and combine it with a colourful and casual maxidress to board the bus to the Hamp- tons? Yes. The same applies to the cus- tom-made Dior corseted look worn by Emily Blunt — though it’s probably a bit over the top if rumours about her bil- lionaire boyfriend in the film are true. The nature of combining luxury items and more affordable pieces in many of the looks also reflects the way fashion insiders actually dress. And while many viewers loved the fact that the first film glorified the corporate glamazonkas who reigned supreme at Runway magazine, it seems as though the sequel is tak- ing a more grounded stylistic approach. Apart from when it comes to high heels. Incidentally, Blunt revealed in an inter- view for Net-a-Porter that her one objec- tion when it came to returning to the set of the movie that made her a major star was the footwear. “I don’t like wearing heels”, she admitted. Despite much of the plot remaining un- der wraps for now, we’re sure to see plen- ty more photos from the set, and thus be fed endless styling elements to ana- lyse and critique. And what do the ed- itors and journalists of lifestyle maga- zines actually wear in the newsroom? Despite the way fashion is portrayed in the media, they’re not catwalk models from head-to-toe. As ELLE magazine’s deputy news and strategy editor Alyssa Bailey says: “I find it really exciting and refreshing that real-life fashion editors wear labels of all price points and still look amazing. I thought as a teenager I needed to be like Andy and wear head- to-toe designer to make it in this indus- try”. This Andy nonetheless looks to be a little closer to reality. That’s because when we see her combin- ing Chanel or Valentino with jeans, those outfits seem more realistic — and, hey, maybe she’s discovered outlet sales like the rest of us. The casual fusion of luxury items and affordable pieces seems appro- priate for anyone who’s familiar with the daily reality of the fashion industry. Af- ter all, the true sign of good style is the ability to find real fashion treasure any- where. Za Meril Strip kao da je vreme stalo, jer niko ne bi poverovao da je prošlo dvadeset godina od prvog filma For Meryl Streep, it’s as if time has stood still, because no one would believe that twenty years have passed since the first film
MODA / FASHION
worn by the characters of Emily Charl- ton (now purportedly a big wig at Dior) and Miranda Priestly (navigating the col- lapse of traditional print media in the age of search engine optimisation). The costumes are also starting to reflect pos- sible plotlines, including a recent scene in which Tucci and Hathaway donned somber, funeral-appropriate shades of black in Central Park. Regardless of the (non)occasion, every scene shot on the streets results in a new wave of discus- sion about style: the good, the bad, and the inevitable question “do fashion in- dustry folk really dress like that?”. Any big-budget production revolving around fashion will always play the ‘fan- tasy card’. That’s something the film’s costume designer, Molly Rogers, learned while working under the legendary Patri- cia Field (Field was the Oscar-nominated costume designer for the original film). From unreleased Celine and Valentino bags to vintage models from Coach and Rabanne, she is returning designer bags to the style spotlight for The Devil Wears
Prada 2. Hathaway was seen on set car- rying a Coach briefcase during the day, while for her evening look Hathaway’s character carries Rabanne’s Silver 1969 Nano bag, which was assembled by hand from 282 metal elements. In keeping with the current Hollywood trend of vin- tage and archival attire, Anne’s character was seen carrying a vintage Yves Saint Laurent bag from the 1970s that was re- portedly acquired at Amarcord, a New York-based vintage boutique and archive. Is it realistic for Andy Sachs to spend nearly $30,000 on a fresh-off-the-run- way Gabriela Hearst dress, Fendi bag and jewellery? No. But would her character
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