The Shift in Luxury Influence: When Brands Compete for the Screen
In the traditional world of cinema, costume designers typically spend weeks courting luxury houses, sending hopeful requests for loans, and crossing their fingers that a brand’s prestige aligns with the film’s plot. But, the production of The Devil Wears Prada 2 has flipped this script entirely.
Costume designer Molly Rogers revealed that for this sequel, the power dynamic shifted. Instead of chasing labels, Rogers found her department inundated with spontaneous shipments from the world’s most prestigious designers and fashion houses. These brands weren’t just collaborating; they were essentially competing to see their pieces and “it bags” enter the wardrobes of the characters.
This trend suggests a future where high-fashion brands view strategic cinematic placement not as a favor to the production, but as a critical marketing necessity. The desire to be associated with characters like Miranda Priestly is so high that brands are now proactively pushing their most exclusive, hard-to-find items into the hands of designers.
Prioritizing Timelessness Over the Trend Cycle
One of the most significant takeaways from the production of the sequel is the intentional move away from “quick fashion” or current seasonal trends. While the film is set within the high-pressure environment of Runway magazine, the wardrobe strategy is focused on longevity.
Following the approach established by her predecessor, Patricia Field, Molly Rogers has ensured that The Devil Wears Prada 2 is not strictly tied to the collections of the moment. Except for a few carefully selected pieces, the outfits are chosen to “pass the test of time.”
By ignoring the fleeting nature of current trends, the production ensures that the film’s visual identity remains desirable and relevant decades from now. This reflects a broader shift in luxury consumption: a move toward “quiet luxury” and investment pieces that transcend the immediate fashion cycle.
The Challenge of “Excess Choice” in Curation
For the first time in her career, Molly Rogers faced a problem most designers never encounter: an excess of choice. When the world’s best bags and garments are delivered without being asked, the role of the costume designer shifts from “hunter” to “editor.”
Rogers noted that the hardest part of the process was deciding which “perfect” pieces to discard. Even with a high number of costume changes required for the characters, the sheer volume of luxury material meant that many impeccable items had to be left on the cutting room floor.
This highlights a growing theme in modern luxury: the value of curation. In an era of abundance, the true luxury is no longer having access to everything, but having the discernment to choose only what is right for the character’s evolution and personality.
Frequently Asked Questions
Who is the costume designer for The Devil Wears Prada 2?
Molly Rogers is the costume designer for the sequel, taking over the role previously held by Patricia Field.
How did the brands interact with the production of the sequel?
Many of the world’s most prestigious designers and fashion houses spontaneously sent clothes and accessories to the costume department, competing to have their items featured in the film.
Is the fashion in the movie based on current trends?
No. Aside from a few specific items, the wardrobe is designed to be timeless and independent of current trends to ensure the film remains stylish for years to come.
What do you think about the shift toward timeless fashion over seasonal trends? Do you prefer a wardrobe of investment pieces or the excitement of the latest trends? Let us know in the comments below or subscribe to our newsletter for more industry insights!
