Best fashion looks and outfits explained

Emily currently holds a senior position at Dior and is relishing the power she brings to the table.

Meanwhile, Andy has returned to the runway as the magazine’s features editor after coming under fire for supporting a fashion brand that manufactures items in sweatshops. With advertising dollars under threat, Miranda, Nigel (Stanley Tucci) and Andy are forced to confront Emily.

This look was purchased at a thrift store. “We had a really hard time putting that blouse on backwards,” says Rogers. “She was going to turn around in the hallway and waltz back to the office, and I wanted her to see the Dior branding on the shirt.”

But it didn’t work. So she wore it head-on.

Rogers turned to luxury fashion house Balenciaga to find a return for Miranda.

When Rodgers and Streep first met, there was no question. “The devil is coming back red. We were both like, ‘We have no other choice.'”

Miranda strutted into the red carpet event wearing a red Balenciaga ball gown made from silk taffeta. It went perfectly with the red heels. “It was very malleable, and its white hair framed her like a picture frame.”

At one point, Rogers said, he was toying with ideas for hats. “Balenciaga sent a couple, but we knew a framed hat wasn’t the right choice. It would have added something and taken away a lot.”

Despite the threats facing print journalism, Miranda Priestly remains at the top. She is still powerful and her global influence is growing, which is what Rogers wanted to represent.

Rogers moved away from cropped jackets and pencil skirts for a sleeker silhouette and softer look. She was “someone with nothing to prove,” Rogers said.

In one scene, Miranda wears a Dries Van Noten tassel jacket. It was the runway show pieces that Rodgers fell in love with, but he didn’t know where to display them.

And then it came to her. Miranda has to go to a cafeteria she has never been to. But this is where bankers and accountants meet to discuss the future of runway.

Tasseled jackets were a big part of the array of men’s tailored suits. “It said, ‘This is the editor. She’s wearing a jacket with tassels,'” Rogers said.

It also served as a bookend to previous costumes. In the first film, during Cerulean’s soliloquy, Miranda wears a Bill Blass cropped jacket with a coin dangling from it. “It’s really gorgeous. For me, that tassel jacket was the sister of that jacket from the first movie. That made the connection for me.”

The first film’s costume designer, Patrica Field, took distant inspiration from Diane Keaton’s “Annie Hall” look.

Twenty years ago, when audiences first met Andy Sachs, she was Miranda’s newly hired assistant and a fish out of water. Since then, she has traveled the world and become an award-winning reporter. That was something Rodgers and Hathaway discussed when organizing Andy’s closet.

Rogers says: “From the beginning, I said to myself, ‘A reporter needs a messenger bag.’ It was in the props department that I discovered a battered Coach bag. “The moment she slipped it over her shoulder, it was hers.”

Now that Andy is a reporter, Rodgers notices more feminine menswear in stores, and spots a “vintage Giorgio Armani jacket that hangs like a boyfriend jacket” at Hathaway. It was a great place to start the character.

Asked which look he wanted to talk about, Rodgers cited a moment to pay tribute to fashion designer Giorgio Armani, who passed away last September.

In one scene while in Milan, Andy and Miranda are both wearing Armani Prive. “We were supposed to shoot the Armani fashion show, but he was sick,” Rogers explains. She added that the crystal suspenders worn by Andy and the Armani Prive looks worn by both women ultimately paid homage to the fashion designer.

Spoiler alert – Roger’s biggest call is the return of the cerulean sweater, a bright blue hue with a touch of turquoise, that appeared throughout the original film. For reference, Rogers dug out a sweater with corn chowder stains in the archives.

And costume designers found the perfect place to feature new sweaters made to trick the original. The idea is that the sweater was a meaningful item to Andy, so she stuck with it. “It’s been years,” Rogers says. She wanted to look a little like Margiela and wanted to do something special with it and give it a raw, frayed edge. At the fitting, “the stuntman’s sleeves were cut off and she (Hathaway) used scissors and it became a sweater vest.”

Chanel boots cannot be returned. “We felt it needed to be kept in its own glass birdcage.”

Mr Rogers said it was “unfortunate” that only men were wearing ties. So, to see the various bonds between women, you need to look no further than this movie.

She pointed out that there are many different ways that ties and scarves can enhance a look. Roger says, “The way they are tied gives us a little clue about the characters.”

At the end of the movie, Emily no longer works at Dior. She works in a coach. Her final punk look was “perfect for Emily’s character”. “It was important that that tie was either skinny leather or chainmail, because she has an edge to it.”

For Hathaway, Rogers incorporated them into her wardrobe, but there was one scene where things didn’t work out. “I loosened my tie and took it away. I was feeling self-conscious.”