The Devil Wears Prada (2006 Movie) & The Devil Wears Prada 2 (2026 Movie) | Page 14 | the Fashion Spot

The Devil Wears Prada (2006 Movie) & The Devil Wears Prada 2 (2026 Movie)

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eternitygoddess said:
Holy moly, it's up against SuperMan Returns? That is some tough competition.

Doesn't Superman come out a few days before???

Well...........we know where the men will be and where the women will be:lol:

Although the real question.............where will the gay men be???

Probably seeing them back to back.:lol:
 
:lol:

i sort of excited about this movie.
not sure if i'm actually going to the theatre to watch it though.
 
Ianastar said:
Doesn't Superman come out a few days before???

Well...........we know where the men will be and where the women will be:lol:

Although the real question.............where will the gay men be???

Probably seeing them back to back.:lol:
I cant stop laughing at your comment!:lol: :lol: :lol: Brilliant!
Oh and yes they come out on a same weekend as Superman!(the movies,of course:lol: :lol: :lol: )
 
Emil said:
I cant stop laughing at your comment!:lol: :lol: :lol: Brilliant!
Oh and yes they come out on a same weekend as Superman!(the movies,of course:lol: :lol: :lol: )

Well I know..............I'll be seeing both;)
 
cric-croc said:
for those people who said they would kill for that job, i would like to say that once you are actually in that job, it is HELL!
i used to be working for a big luxorious and prestigious company/person and i did almost *********** to get the job; i loved the job itself to bits, but the stress to be working in such a bitchy environment (fashion) with your manager requesting the most silly and impossible things, it was a mission impossible every day, even when you are suppose to be off work.
surely, it is an experience i would re do again as i have learnt so much in such a small period, but it does kill your social life, self esteem, your ambition....
again, i do not reject working for such a person and company, but at the end i decided to resign to get my life back as i firmly believe in respecting people, thing that the company clearly did not
this is my 2 cent anyway :innocent:
I totally understaned your views in the comment and agree with them.
But if i was offered the job of Annas A. i would take it without blinking an eye(even knowing beforehand about her reputation)call me crazy but i would work in hell to obvserve this womans work ethics!
And we all know that you are not an Assistant forever and getting promoted at Vogue would be worth a few years in hell.:blush:
As a person who loves everything about fashion i think it would definetly be worth it!And this are my 2 cents to it!:lol: :woot: :lol:
 
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I have never got around to reading the book ('fashion' books always seem to get dated really easily) but the movie looks great and i'm really interested in seeing the styling.

There is also a lot of the clothes from the film up on ebay, the link is on the website. a couple of cute things!
 
Ianastar said:
I dont know if you guys checked it out recently but they have really updated the website for the movie:

http://www.devilwearspradamovie.com/index.html?dl=downloads

There are now more downloads, pictures, a trailer, a myspace page, a fashon related quiz, and TODAY only in select cities.........

FREE COFFEE:woot: check out the coffee break link!!
Thanks for the link the clips are amazing i cant wait for this movie:woot: :lol:
Oh and i got only one anwser wrong in the quiz,so now i feel great.:lol: :lol:
The whole site is great
 
Avant Garde said:
Compare Miranda's office (annehathawayfan):




And Anna's office (nymetro):




See the similarities? ;)

Hehe.. there's a copy of Z!nk on Meryll's desk.. I thought there were no real magazines on set? :innocent:
 
source: nytimes.com

June 29, 2006
The Duds of 'The Devil Wears Prada'

29pradaxl2ub.jpg

Barry Wetcher/Associated Press

In character, Ms. Streep, third from left, meets with her minions in a spangly Bill Blass jacket and several pounds of gold. The evening dress, with its many flounces, contrasts garishly with the minions' prim garb.

By RUTH LA FERLA


EVERYONE loves a Cinderella makeover, especially when its setting is catapulted in time to the formidably spotless, lacquered world of modern fashion magazines. The makers of "The Devil Wears Prada" seem, in fact, to be banking on it. Which may be why they inserted a fairy tale metamorphosis into the heart of the film based on Lauren Weisberger's best-selling roman à clef about an earnest journalism grad who becomes an assistant to the impossibly exacting editor of Runway, the country's most powerful fashion magazine.


When the movie arrives in theaters tomorrow, some audience members may writhe with envy watching as Andy Sachs (Anne Hathaway), the style-challenged lackey to Miranda Priestly (Meryl Streep), sheds her scullery-maid persona for that of a smugly preening style princess. Some will likely fall under the spell cast by David Frankel, the director of "The Devil Wears Prada," who aimed, he said, to fuse fantasy — "the wish fulfillment of going to this magical kingdom of fashion" — with a sense of authenticity.

29prada38ti.jpg

20th Century Fox/Associated Press
In the film, Anne Hathaway's graduation from frump to fabulista is signaled by boots, chains, a miniskirt and a Chanel jacket.


Did he hit his mark? To a point. But to the unforgiving eye of insiders who attended a flurry of advance screenings, Andy's swag-laden trip to the ball has about as much relation to reality as New York City does to Kankakee.

29prada20ui.jpg

20th Century Fox/Associated Press
Meryl Streep in throbbing jungle stripes and spots with a handbag by Nancy Gonzalez.


"Where is the chic?" groused David Wolfe, a New York fashion and retail consultant well versed in the eccentricities of real-life magazine divas. In his assessment, the film's stylistic problems begin with Meryl Streep as the silver-coiffed Miranda, a character he thinks looks far too bland and bankerlike and ugh! — far too pretty — to be convincing as Runway's chilly commander in chief.


In fashion, "You've gotta have a gimmick, like the stripper said," Mr. Wolfe observed. Think, he urged, of the rigidly stylized signature look of magazine legends like Diana Vreeland, with her kabuki makeup and tar-colored hair, or celebrity editors like Anna Wintour, whose dark glasses and precision-cut bangs shield a profile of cut glass.


"In a world of 'fabulous,' " Mr. Wolfe pronounced, " 'pretty' just isn't good enough."


Other self-appointed critics pin "Devil's" visual shortcomings on a misapprehension of what truly counts as "fabulous" in the realm of style. It is not summed up by a parade of Gucci, Pucci, Dolce & Gabbana and Prada, they say, but by breezier labels like Chloé, Marc Jacobs and Marni, which are coveted by young trendsetters but are in scant evidence on screen.


Even Prada is in short supply. In their place are masses of wool bouclé power suits, double-C logo pearls, tweed newsboy caps and thigh-high boots that threaten to sink the film under their weight.


Those costumes are "a caricature of what people who don't work in fashion think fashion people look like," said Anne Slowey, the fashion news director of Elle. Conceived and styled by Patricia Field, who assembled the wardrobe for "Sex and the City," "the clothes are a little too head-to-toe perfect," Ms. Slowey said.


Not to say a little uptight. After a visit to the fashion closet, the magazine's inner sanctum, Andy emerges — voila! — upholstered to the collarbone in a doubled-breasted Chanel jacket with gold crest and trim. Cataracts of chains and a pair of high-rise boots that few lowly assistants could afford finish off the look.


That effusive costuming extends to Emily (Emily Blunt), Andy's colleague in misery, who starves herself into a size 2 shrug with studs and flanged shoulders that turns her into a hybrid of Goth girl and intergalactic warrior queen. Miranda for her part is mumsy in an asymmetric bob and beige trench coat. But she, too, is capable of going overboard. Among the 60 costumes Ms. Field put together for her is a Fendi jacket that pulsates with animal stripes, the look completed with an outsize crocodile bag.


For Ms. Field, the costumes were never intended to match reality. "Did Holly Golightly represent reality in a Givenchy dress? I was in that zone," she said. "My job is to present an entertainment, a world people can visit and take a little trip.


"If they want a documentary, they can watch the History Channel."


Still, the movie wardrobe has little in common with the chicly understated style of Audrey Hepburn in "Breakfast at Tiffany's" or "Funny Face," considered by professionals as delightful depictions of fashion. It is more akin to the overblown outfits of Sophia Loren — all polka dots and floppy picture hats — in "Prêt-à-Porter," the 1994 fashion satire by Robert Altman disparaged by the pros. Even the makeup in "Devil" (gecko-green eye shadow, coral-reef lips) owes more to fashion's last great age of conspicuous consumption than to the Boho-inflected, low-key, often self-consciously haphazard look of today.


"The hair, the clothes, the furs, the handbags, the editor's apartment, it's very much the heyday of the 80's, which was our flashiest moment to date," said Tiffany Dubin, a former curator of vintage fashion for Sotheby's.


Those elements prompted Ms. Dubin to dismiss the film's style with the fashionista's ultimate putdown: "The people in it are trying a little too hard."


The first hint that "Devil" may go over the top arrives in the form of a wardrobe montage in which Miranda stalks into the office on a series of mornings, flinging onto her assistant's desk enough status bags and lavish furs to clean out the Bronx Zoo. They are just the beginning of a brazen outpouring of $12,000 handbags, $30,000 furs and $1,000 over-the-knee boots assembled by Ms. Field with a budget of $100,000 and a little help from designers and friends who, she said, provided access to about $1 million worth of clothes.


In the tradition of Ms. Hepburn, who has played her share of Cinderella characters, Andy looks on saucer-eyed. Her frowzy poly-Shetland sweaters and argyle skirts are a sure indication that she is about as well suited for her position as Paris Hilton would be for a job as a nanny.


Not to worry. It is at this juncture that Nigel (Stanley Tucci), Miranda's right hand, a chilly martinet in a shrill plaid suit, steps grudgingly into the role of fairy godmother. He bears a glass slipper, of course: a pair of Jimmy Choo stilettos, which Andy eyes warily before slipping them on.


As they say, if you can't beat 'em ... Like a Stockholm syndrome sufferer, it is not long before Andy takes on the look and mannerisms of the enemy.


In a violation of the strictures of most fashion glossies, she routinely raids the fashion closet, a mini-Versailles tidily packed floor to ceiling with Valentino, Narciso Rodriguez, and of course, Jimmy Choo. Cavernous and brilliantly lighted, it is the antithesis of a real-life fashion closet, which is usually the size of a generous bathroom jammed with tray upon tray of jewelry, hosiery and clothes all guarded by junior editors — fashion's "grim vigilantes," as Gay Talese called them in "Vogueland," his acid 1961 magazine portrayal of life at Vogue. Eager watchdogs, they would be as likely to borrow tens of thousands of dollars worth of designer wares for a night out as they would to upend a latte on the boss's desk.


No such scruples trouble Andy, who rejects the searingly orange cape that Nigel offers in favor of a leopard-trimmed parrot-green Gucci coat that is much too buttoned-up for the likes of a 22-year-old editorial assistant. It is one in a multitude of costume changes that see Andy through days of running errands and nights of dropping in at galleries and fashion galas.


"I find it astounding that all these people in the movie have so much time to change," said Hal Rubenstein, the fashion director of InStyle magazine. "By and large, if you go from work to an event in the evening, you change your shoes, your jewelry and your bag, the same way that the magazine editors tell their readers to do."


Mr. Rubenstein objected as strenuously to the filmmakers' tendency to pile on the goods. "For the most part women in fashion fiercely edit what they wear," he said. In contrast, the movie offers much too much in the way of furs and gold bangles, he said, reflecting "a weird desire for abundance for the sake of abundance."


Ms. Dubin said: "It's costume. People now are more subdued."


Fashion codes have visibly relaxed since 1961, when Mr. Talese described the denizens of Vogueland as a phalanx of "suave and wrinkle-proof women filing into the office weekday mornings."


Indeed, a random check of editors and assistants passing through the glass doors of 4 Times Square, the headquarters of Vogue, showed them to be more rumpled than wrinkle-proof, though as seemingly unstudied and spare as those editors of old. Granted it was summer, and fittingly they wore light-as-air-kisses dresses and filmy jersey tops with slim pants and dainty sandals. There wasn't a logo or "it" bag in sight.
 
Dos thanks for the article i expected something like that specially from other editors and magazine people!
 
they're selling part of the wardrobe on Ebay - and I'm kind of surprised she's not wearing more- you know actual Prada :blink:
 

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