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for costume designer molly rogersExpectations were very high when it came to putting together the looks the devil wears prada 2. “I promised myself I would just stay in my bubble because if I’m worried about outside judgments or my role, which is being part of the crew, and being expected to perform, I can’t dress my best,” Rogers said. Fortunately, Rogers had first-hand experience working Devil Wears Prada Film as an associate costume designer under Patricia Field.
For the latest episodes of Who Wears What PodcastRogers shares his process for putting together the characters’ looks for the sequel, the story behind those iconic thighs Chanel shoes, and much more.
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For excerpts from the conversation, scroll down.
How did you deal with the pressure of knowing that expectations were so high?
I’m very fortunate to have worked on my first film because I have a history with the director, screenwriter, and cast. It’s really good to know the roots. I promised myself that I would just stay in my own bubble because if I was worried about outside judgments or thinking about my role, which is being part of the crew, and what was expected of me, I wouldn’t be able to perform at my best. If I thought about blame or whatever was going on, I think it would have really blocked me.
I always love creating a beautiful fitting room. …The actor comes in, and I’m there with my team, and everyone feels like we can create and collaborate, and it’s a beautiful place. This is no ordinary wardrobe fitting room. It’s kind of glamorous, and we feel like we’re really going to do something.
Where did you begin the costume-design process, and did you immediately start thinking about where you would pay homage to the original?
I loved the first movie, and when I read the second script, I was so excited that the first movie got a nod and a mention because it’s always fun to watch or catch up on that. I was very lucky that I was in my little apartment in Miami Beach, and the director was in Florida. He was into it for much longer than I was, and we were just talking about things in general and the state of the business and what the movie was really about.
When I got to New York and started working… I like to make presentation decks for actors so they can say, “This is what I’m thinking—does this connect with you?” So I started working on images. I got a chance to talk a lot with the screenwriter, Aline Brosh McKenna, who is a delight. It’s a process, that’s why it’s called preproduction. You’re not shooting anything yet, and you have to marinate and think about things.
I’d love to discuss some of the original iconic looks and get a little insight into how you decided on certain items – for example, Andy’s cerulean sweater.
Pat and I were stuck at a fitting on Leroy Street, and for some reason (and I don’t remember why), we needed this dress immediately. This was before you were shopping and you could send photos to the costume designer and help guide the buyer.
We sent (Wendy) – “Super Shopper” is her nickname. She ran down Lower Fifth Avenue, in and out of J.Crew and Banana Republic. (She) had just brought back 12 shopping bags and was very stressed and nervous because (that scene) was a pivotal moment – like, “You’re being made an example of, you’re a fish out of water.” And it was picked up by Pat like nothing. I don’t think there were very many sweaters. I think it was more about which dirty shoe or which skirt.
Sometimes, things are good when you have a deadline because you can’t let things get out of control. …It’s either this or nothing, and it felt just right.
Do you remember the judging process for those iconic (Chanel) boots?
I should make a fictional story. Honestly, sometimes, it’s just whatever happens in the room. This wasn’t “show me all the thigh-high boots in the world.” It’s “you’re fitting someone in, you have limited time, you’ve called everything you can possibly use, and there they are.”
I remember calling the channel when we were in preproduction and I said, “Annie has been cast as the assistant.” “We want him,” Chanel said. They were like, “We’ll return the truck for you, and how can we help?” And Mr. Valentino also said to Meryl (Streep), “How can I help you with your wardrobe?”
This interview has been edited and condensed for clarity.
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