{"id":28814,"date":"2026-04-29T09:15:31","date_gmt":"2026-04-29T09:15:31","guid":{"rendered":"https:\/\/hunthow.com\/?p=28814"},"modified":"2026-04-29T09:15:31","modified_gmt":"2026-04-29T09:15:31","slug":"7-the-devil-wears-prada-trends-due-for-their-own-revival","status":"publish","type":"post","link":"https:\/\/hunthow.com\/?p=28814","title":{"rendered":"7 \u2018The Devil Wears Prada\u2019 Trends Due for Their Own Revival"},"content":{"rendered":"


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When The Devil Wears Prada<\/em> opened in 2006, the fashion establishment was not, at first, entirely seduced. In a now-essential New York Times<\/em> piece<\/a> published on the eve of the film\u2019s release\u2014Ruth La Ferla\u2019s magnificently tart \u201cThe Duds of The Devil Wears Prada<\/em>\u201d\u2014the clothes were practically put on trial.<\/p>\n

Anne Slowey (then fashion news director of Elle<\/em>), quoted in that article, dismissed Patricia Field\u2019s costumes as \u201ca caricature of what people who don\u2019t work in fashion think fashion people look like.\u201d Hal Rubenstein (then fashion director of InStyle<\/em>) added that real fashion women \u201cfiercely edit what they wear,\u201d unlike the \u201cabundance for the sake of abundance\u201d on display in the film. Vogue<\/em> remained mum on the film\u2019s fashion, but in some field reporting from La Ferla outside 4 Times Square, then the real-life headquarters of Cond\u00e9 Nast, she observed that the editors looked far less theatrical than their fictional counterparts\u2014wearing airy dresses and slim pants, with, as she put it, \u201cnot a logo or \u2018it\u2019 bag in sight.\u201d<\/p>\n

And then there was Patricia Field herself, who delivered the perfect rejoinder regarding the film\u2019s fashion accuracy, or lack thereof: \u201cIf they want a documentary, they can watch the History Channel.\u201d<\/p>\n

Indeed, The Devil Wears Prada<\/em> was never reportage; it was mythology. It was magazine life lacquered to a high gloss, reality exaggerated for Hollywood. Miranda flings furs across desks like royal decrees. Assistants can nick head-to-toe Chanel looks from the fashion closet without anyone batting a Shu Uemura\u2013curled eyelash. Everything is turned up a few delicious notches.<\/p>\n

Rewatching The Devil Wears Prada<\/em> 20 years later, I found myself less interested in whether Andy\u2019s thigh-high Chanel boots were plausible office wear and more taken by all the looks I suddenly wanted to try for myself.<\/p>\n

Below, a handful of trends and objects (with an honorable mention to the @devilwearspradafashion<\/a> Instagram account, which I heavily referenced) that, this Vogue<\/em> editor would argue, deserve a second act.<\/p>\n

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\u00a920thCentFox\/Courtesy Everett Collection<\/span><\/p>\n<\/figure>\n<\/div>\n

Bring Back\u2026High-Kitsch Jewelry<\/h2>\n

Did you get it at the Chanel boutique or off a blue mover\u2019s blanket unfurled on Canal Street? Patricia Field, in her wisdom, suggests the distinction scarcely matters, but Andy\u2019s baubles were Chanel<\/em>, Chanel. Here she layers two necklaces, including one from the 2006 Cruise collection that reads as an ode to Paris itself, dangling with Eiffel Towers and charms for 31 Rue Cambon. (In fact, Field was doing some foreshadowing here: Andy wears her Francophile necklace in the pivotal scene when Miranda asks her to go to Paris Fashion Week in Emily\u2019s place. Andy may pretend to hesitate over the offer, but her jewelry is saying\u2014nay, screaming<\/em>\u2014otherwise.)<\/p>\n<\/div>\n