Lesson #5: The Devil Doesn't Always Wear Prada
People think I take fashion and tell [the actors] what to wear, but it doesn't really work that way. I consider myself there to support the actor and to help the actor develop his or her character [through wardrobe]. Because the actor is there in front of the camera, not you. Everybody is individual and you have to treat everybody on an individual basis. And everybody comes with their body. Sometimes the body is slim and tall, sometimes it's short. Sometimes the posture is great and sometimes it's not so great. And the actor also comes with a brain and how they see themselves, and they have to feel comfortable in front of that camera. They can't be thinking 'Oh, I can't move right in this.' They can't be thinking about their clothing when they're doing their job as an actor. They need to be feeling good and confident and comfortable. So the relationship with the actor has to be one of trust and confidence and respect. I mean, now I know Sarah Jessica inside-out. But when I started with Meryl Streep [on "Prada"] I had never met her before. I didn't really even know her body. My main thing was to try and make Meryl look good, and the only rule that I was strict about was to make her look expensive. But it wasn't about any particular designer or trend or time. So you're going to see a little Prada - I'm going to open with a Prada bag, and she wears a Prada suit in a big important scene and a Prada coat somewhere along the line. But I wasn't trying to go Anna Wintour. I just thought of her as a famous, powerful fashion editor. She could have been Diana Vreeland or a dozen different women. So I used some 1980 Donna Karan vintage because it fits beautifully and it looked really good. I used a lot of Bill Blass because that line uses the most expensive fabrics you can find. I just wanted nice clothes on her, not a name that you would necessarily recognize. My goal was to make her look good. So I hope I achieved that.
Anne Hathaway's character starts off as a college graduate who's not into fashion at all - she wants to be a writer and is very J. Crew-ish - so I used a lot of Chanel on her because [in the movie] she dressed from the [fashion department] closet, and it was one of those brands that would be in that closet and that she could wear with her personality. And I used some Calvin Klein on her, as well. So she was more a signature type of dresser, much more like 'It's from this collection' and not so original, let's say. Emily Blunt plays the other assistant, and I dressed her in a lot of Rick Owens and Vivienne Westwood, because she's a more offbeat, fashion type of dresser. And with
Stanley Tucci, who plays the male assistant, I dressed him a little eccentrically but with a conservative base. I used a lot of vests but tucked them into the pants so you saw the belt. And most of the times the vest didn't match the suit or the jacket or pants; I kind of mixed it up. And I used some big, eccentric jewelry on him - a ring and lapel pins or something on his tie. Stanley is a very expressive, explosive actor. So when you have somebody who does that kind of characterization, you can explode them in clothes, too. He was totally enjoying it. I love dressing men, actually. I don't dress enough men.