She Dressed “The Devil Wears Prada” ’s Miranda Priestly and Came Back for Seconds

I want to talk about “The Devil Wears Prada 2.” There were so many looks in it that I don’t know where to begin. I think a lot of people will be talking about those sequin culottes that Anne Hathaway wears.

I can’t believe you clocked those. Those were knickers.

What shifted for you, in terms of the costuming approach, between the two films?

Well, I remember during the first movie, Pat said that in some distant corner of her mind she saw Andy Sachs as Annie Hall. So when I was thinking about what Andy has done over the past twenty years, the first words on her mood board that I showed the director were “feminine menswear.” And it was all in the stores—like a high-waisted pant. And, the more I thought about it, the more I was, like, that tracks with her working in a newsroom, where you roll your sleeves up and you’ve got a vest on, and you’re making the deadline. Then things would present themselves, like those Valentino knickers. I was interested in exploring that menswear space. Andy wears a lot of suspenders.

Oh, yes. I’m thinking of a killer black dress she wears in a dinner scene in Milan.

That was Armani Privé. We were supposed to film his fiftieth fashion show while we were in Milan. I was so excited. But he died that month. Even though we didn’t get to shoot that, it was important to Meryl and Anne to wear Armani in that “Last Supper” scene.

Oh, yes, I love Meryl’s coat in that scene. So shiny!

We have to have our glitter. That’s the magpie in me.

Meryl was very bejewelled in this movie. She wears a lot more bling than she did in the first film. I’m thinking of a sparkly collar she wears that looks a bit like R.B.G. but make it fashion.

That collar was the first thing I bought for the movie. I didn’t know where it would end up. I put another collar on her initially, but Meryl saw that one, and she said, “Diana Vreeland.” I was, like, I was thinking Cleopatra, but O.K., that’s cool, I could meet you there.

One thing I thought was inspired was how you made Emily Blunt’s character, who now works at Dior, a kind of fashion victim. She is wearing so much branded Dior gear, and these baroque outfits.

Well, you know, what’s funny is, those outfits were not necessarily meant to be funny. At the funeral scene, where she’s wearing that Dior beret, with the lace-face covering, I just thought it was her being in high fashion. But the director, [David Frankel], thought that the outfit was hilarious. I was, like, Oh, my God, we’re not making the same movie. Help me. But he is not savvy—he’s not reading Women’s Wear Daily. And he saw something else in it, and it helped him in that scene.

I also want to talk about what Anne wore for one party scene. It’s a blue sequin dress that almost has an eighties prom feel to it, with the ruffles and the draping.