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What The Devil Wears Prada 2 reveals about fashion, media, and money today
Happy The Devil Wears Prada 2 release day to those who celebrate! This post contains spoilers about the movie (but also some good musings IMHO)
Like many fashion-obsessed people, The Devil Wears Prada was a very important cultural moment for me and remains a reliable comfort watch; if it’s available on a plane, there’s a high chance I will watch it. So I was very excited that they got the Runway gang back together for a sequel even though we all know how sequels can turn out: hollow shells of the original bloated with celebrity cameos and product placements.
I attended a screening of The Devil Wears Prada 2 hosted by Vogue earlier this week to catch a preview of the film. And I’m pleased to report that she’s a good time! But I couldn’t help but keep a running tab of all the products subtly and not-so-subtly featured in the film (even the screening had corporate sponsors - Samsung and Tiffany’s - and Chloe Malle gave a special shoutout to Tiffany’s, telling the audience to keep an eye out for a special 31-carat aquamarine necklace in the film).
First of all: there was actually not a lot of visible Prada in the film. Maybe Prada realized that it got all the free publicity it needed with its name in the title of a bestselling book and blockbuster movie. But where Prada declined to step up, other major brands with deep pockets stepped in. Chanel has pieces featured prominently (we all remember the iconic Chanel boots line from DWP1). Dior, where Emily works now, practically has its own side storyline. Valentino gets a fair amount of screen time: Andy’s friend Lily, once the recipient of a Marc Jacobs Blake purse, is gifted a Valentino Viva Superstar and the DWP2 trailer made us all consider the Rockstud heels again. Cartier watches seem to be on every wrist at Runway. Less globally-dominant brands like Gabriela Hearst and Toteme receive noticeable callouts. And, of course, there are non-fashion product placements from Coke, Stella Artois, and Mercedes.1
Listen, you can’t fault producers from taking advantage of the hype that this movie would presumably generate by milking the brand deals for all they’re worth.2 In this era of late stage capitalism, any and all culture is for sale. What’s notable, however, is that the main devil of the film seems to be capitalism itself in the form of the new robber barons of the 21st century, that is nepo babies and tech bros who wear microplastic-ridden performance wear. They’re portrayed as the ones who can save struggling icons like fashion magazines while at the same time diluting them of all culture.
In DWP2, a thinly-veiled Bezos character is first - concerningly - presented as the saviour of Runway and then is ultimately foiled. The takeaway of the movie seems to be, “Thank god, we actually don’t want this.” However, the irony is that Vogue, a major promotional partner of the film, has ingratiated itself with the exact people who the movie paints as the villains. After having their wedding specially covered by Vogue, the Bezos are the lead sponsors of this year’s Met Gala, which has lead to further chatter that they will buy Condé Nast (and, given Bezos’ poor treatment of the Washington Post, it’s unlikely that this would be a good thing for both employees and readers).
Listen, capitalism in media and culture is nothing new: fashion magazines have for decades relied on ad sales as a major source of revenue. I think what’s different and concerning in this day and age is the opacity of the sponsored spend, how it dictates artistic decisions, and the intent of the people who hold the purse strings.
STYLE NOTES
The costumes in the film are the opposite of quiet luxury and that’s exactly what we want. Andy undergoes a similar transition as in DWP1 from frumpy, serious journalist to stylish features editor thanks to fashion fairy godmother Nigel and the Runway closet. Emily’s cat eye is less severe but her wardrobe is just as conceptually chic (as you might expect, now featuring more Dior). And the vintage JPG couture worn by the new version of Emily, played by Simone Ashley, is one of the film’s top looks.
Because I love a purse, my eyes were drawn to the fabulous (possibly sponsored) bags in the film. I clocked my beloved Chloé bracelet bag in white, a Chanel Maxi Flapbag, something that is or is very similar to this Fendi Peekaboo, a Khaite baguette which I’ve previously considered as a purchase and now want to reconsider (the power of product placement!), a Bottega Veneta Parachute tote in blue grey suede, a version of the Balenciaga Le City tote, and a throwback Celine belt bag.
I’m so curious about the ratio of sponsored costumes in the film vs. organic ones. For example, Miranda wears multiple Schiaparelli pieces and there are intentional shots of the brand’s signature keyhole shoes and name on a shirt sleeve; did Schiaparelli pay to be featured? I’m attending a talk with the costume designer, Molly Rogers, next week and I hope she speaks about this.
TRACK NOTES
Two quick music musings:
First, the soundtrack to DWP2 has three new Gaga songs, the best being the dance bop “RUNWAY” ft. Doechii (the video is a visual fashion feast). Also featured are Chanel brand ambassadors Dua Lipa and Olivia Dean (coincidence??) as well as existing songs by SZA, RAYE, The Marias, and Laufey. TBD if DWP2 will be as life-changing for them as the first one was for KT Tunstall.
Second, the soundtrack for Mother Mary, Anne Hathaway’s far less promoted film released this spring, is QUITE good. Jack Antonoff and Charli xcx are the writers and producers of a lot of the tracks - including the standout “Holy Spirit” - which is probably why I like it so much; I cannot resist an Antonoff synth moment.
Not to mention the many, many other brand collabs.
Both my lawyer and fashion brain would appreciate detailed insight into the negotiations for the brand and product placements (and, because I’m nosy as hell, what it all cost). Like I would have loved to be a fly on the wall during the conversations with Dior; clearly it was very important to them to feature in the film the build of their new flagship at 57th and Madison (it’s now open - I’ve been, it is beautiful).