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For costume designer Molly Rogers, expectations were high when it came to putting together the looks for The Devil Wears Prada 2. “I promised myself that I would just stay in my own bubble because I cannot deliver the best outfit if I am concerned about outside judgments or thinking outside what my role is, which is part of the crew, and I’m expected to deliver,” Rogers said. Luckily, Rogers had experience working on the first Devil Wears Prada film as an associate costume designer under Patricia Field.
For the latest episode of The Who What Wear Podcast, Rogers shares her process of putting together the characters’ looks for the sequel, the story behind those iconic thigh-high Chanel boots, and more.
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For excerpts from the conversation, scroll below.
How did you grapple with that pressure of knowing that the expectations were so high?
I’m so fortunate that I did work on the first one because I had a history with the director and the screenwriter and the cast. It’s really good to know the roots. I promised myself that I would just stay in my own bubble because I cannot deliver the best outfit if I am concerned about outside judgments or thinking outside what my role is, which is part of the crew, and I’m expected to deliver. If I thought about recrimination or anything that was happening, I think it would have really stunted me.
I always like to create a beautiful fitting room. … The actor comes in, and I’m in there with my team, and everybody feels like we can create and collaborate, and it’s just a pretty place to be. It’s not a typical wardrobe fitting room. It’s kind of glamorous, and we feel like we’re really going for something.
Where did you start the costume-design process, and did you immediately start to think about where you would pay homage to the original?
I loved the first movie, and when I read the second script, I was very excited that there were nods and mentions to the first one because that’s always fun to look out for or catch. I was fortunate enough to be in my little apartment in Miami Beach, and the director was in Florida. He had been immersed in it much longer than me, and we were just talking generally about things and the state of the business and what the movie was really about.
When I got to New York and started doing… I like to do presentation decks for the actors to say “This is what I’m thinking—does it connect to you?” So I started working on the images. I got to speak a lot with the screenwriter, Aline Brosh McKenna, who is delightful. It’s a process, which is why it’s called preproduction. You’re not shooting anything yet, and you get to marinate and think about things.
I would love to discuss some of the original iconic looks and get little bit of insight on how you decided on certain items—for example, Andy’s cerulean sweater.
Pat and I were stuck in a fitting on Leroy Street, and for some reason (and I don’t remember why), we needed this outfit immediately. This is before you were shopping and you could send pictures to the costume designer and you could help guide a shopper.
We sent [Wendy]—”super shopper” is her nickname. Out she ran down lower Fifth Avenue in and out of J.Crew and Banana Republic. [She] just brought back 12 shopping bags and was so stressed out and freaked out because [that scene is] a pivotal moment—like, “You’re being made an example of, you fish out of water.” And it was chosen by Pat like nothing. I don’t think there were a lot of sweaters. I think it was more about what dumpy shoe or what skirt.
Sometimes, those things are good when you have a time deadline because you can’t spin out of control. … It’s either this or nothing, and that just felt right.
Do you remember the decision process of those iconic [Chanel] boots?
I should make up a fantasy story. Honestly, sometimes, it’s whatever’s in the room. It wasn’t “Show me all the thigh-high boots in the world.” It’s “You’re fitting someone, you have a limited amount of time, you’ve called in everything you possibly could that you might use, and they happen to be there.”
I remember I called Chanel when we were in preproduction, and I said, “Annie has been cast as the assistant.” Chanel said, “We want her.” They were like, “We will back the truck up for you, and how can we help?” And Mr. Valentino also said that to Meryl [Streep], “How can I help your closet?”
This interview has been edited and condensed for clarity.
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