When the film “The Devil Wears Prada” premiered in 2006, the fashion industry didn’t immediately embrace it with enthusiasm. Ahead of the release, The New York Times published an article by Ruth La Ferla titled “The Duds of The Devil Wears Prada,” which essentially put the film’s costumes on trial. Anne Slowey, then fashion news director at Elle, called Patricia Field’s work “a caricature of what people outside the fashion industry imagine people in fashion to be.” Holly Rubenstein, then fashion director at InStyle, added that real women in the fashion world “choose very carefully what they wear,” contrasting it with the “excess for the sake of excess” depicted in the movie.
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Vogue did not comment on the film’s fashion at the time. Instead, Ruth La Ferla conducted her own observations near 4 Times Square, the then-headquarters of Condé Nast. She noticed that the editors appeared significantly more subdued than the film’s characters, favoring simple dresses and slim trousers. According to La Ferla, there wasn’t “a single logo or flashy bag in sight.” Patricia Field responded to these criticisms simply: “If they want a documentary, they can watch the History Channel.”
“The Devil Wears Prada” was never intended as a realistic portrayal of editorial life; it was glossy mythology about a fashion magazine. The reality in the film is deliberately exaggerated. Miranda tosses furs onto tables like a queen. Assistants can grab a full Chanel outfit from the office wardrobe, and no one bats an eye. Everything in the film is amplified, bolder, and more theatrical. Nearly 20 years after its premiere, the fashion from “The Devil Wears Prada” looks relevant again. The looks worn by Andy, Emily, and Miranda are no longer perceived solely as a reflection of the 2000s. They feature trends that work exceptionally well today: statement jewelry, short boleros, forearm cuffs, striking jackets, unusual bags, pageboy caps, and dramatic faux fur. Below are 7 trends from “The Devil Wears Prada” that deserve a comeback.
Kitsch Jewelry
Andy wears two Chanel necklaces simultaneously. One is from the 2006 cruise collection, featuring charms like the Eiffel Tower and the address 31 Rue Cambon. This detail is not accidental. Andy wears this necklace in the scene where Miranda asks her to go to Paris Fashion Week in Emily’s place. The character seems hesitant, but her jewelry already hints at her future choice. Today, after years of minimalist dominance, such jewelry looks compelling again. Large pendants, logos, city symbols, and a touch of deliberate theatricality – this is how jewelry should be now.
Short Bolero
One of Emily Charlton’s most striking looks is a short Rick Owens bolero. It drapes over her shoulders as a detail that transforms the entire silhouette. This particular piece makes her first appearance in the film so impactful. The bolero is characteristic of early 2000s fashion. It’s not always practical, but it works brilliantly as a stylistic device. It highlights the waistline, adds graphic emphasis, and elevates a simple outfit. Today, with the prevalence of straight blazers, oversized coats, and classic outerwear, a short bolero offers an intriguing alternative. It can be worn with dresses, tops, pencil skirts, or high-waisted trousers.
Forearm Bracelet
In the scene searching for the “Harry Potter” manuscript, Andy appears in an olive-green Calvin Klein knit dress, Giuseppe Zanotti shoes, a Me&Ro necklace, and a bracelet pushed up almost to the middle of her forearm. This detail seems simple, but it’s precisely what makes the look more interesting. The bracelet isn’t worn on the wrist as usual; it’s positioned higher, acting as a distinct graphic accent. Wide cuffs have made a comeback, but a forearm bracelet creates a different effect. It looks less predictable. It can be paired with knit dresses, sleeveless tops, shirts with rolled-up sleeves, or minimalist evening wear.
Bill Blass Jackets
During the famous monologue about the blue sweater, Miranda is wearing a shimmering Bill Blass jacket adorned with gold medallions. This is one of the most significant pieces in the film, almost stealing the scene’s attention. The jacket was part of the Bill Blass Fall 2004 collection, a period under Michael Vollbracht for the brand. Patricia Field’s choice was precise. Bill Blass dressed socialites like Gloria Guinness and Brooke Astor, creating luxurious garments that weren’t overly ostentatious or formal. After several ownership changes, the brand effectively ceased to exist in 2008. However, given the current interest in vintage fashion, it’s worth seeking out pieces from this iconic label.
The “Ugly” Bag
In the first scene after Andy’s transformation, she appears in a Chanel ensemble, and Emily can’t hide her surprise. “Are those…” she begins. “Chanel boots? Yes, they are,” Andy replies. The Chanel boots from the Fall 2005 collection indeed became a key detail of the outfit. The jacket from the Chanel Cruise 2005 collection is also important. However, the green Fendi Chef knitted bag, designed by Karl Lagerfeld in 2005, deserves special attention. This bag isn’t conventionally beautiful; it has a soft shape, a knitted texture, and embodies the typical boho aesthetic of the early 2000s. It catches the eye before the viewer can even decide whether they like it or not. This is precisely what an “ugly” fashion bag should be. Amidst the uniformity of minimalist leather bags, such designs can once again become relevant.
Pageboy Cap
The pageboy cap was a notable accessory of the 2000s, worn by stars like Hilary Duff and Ashlee Simpson. These caps were often styled ironically, paired with t-shirts, vests, and pieces from the indie-sleaze aesthetic. In “The Devil Wears Prada,” Andy wears a tweed Chanel pageboy cap differently. She combines it with a white Yigal Azrouël coat and Marni shoes, creating a neat, understated, and polished look. This detail is also significant in context. Historically, the pageboy cap is associated with newsboys. In the film, it’s worn by a young woman trying to build a career in print media. Today, the pageboy cap can return as an alternative to baseball caps, berets, or bucket hats. It adds structure to an outfit and pairs well with coats, blazers, knitwear, and classic footwear.
Statement Faux Fur
One of Miranda’s most memorable looks is a red fox fur coat by Canadian designer Izzy Camilleri. In the film, she wears it with a purple Gucci Horsebit Glam bag and black suede knee-high boots. This isn’t practical outerwear; it’s a statement piece designed for a dramatic entrance. It instantly sets a mood and emphasizes the character’s status. It’s important to note: today, this refers not to new natural fur but to vintage or faux fur. The trend for statement faux fur aligns well with the renewed interest in theatricality in fashion.
Based on material from vogue.com