In a fashion-forward film, the costume designer plays one of the most crucial roles—and maybe more than any film this year, The Devil Wears Prada 2 had sky-high stakes for costume design. While the looks more than delivered, if they hadn’t, the masses would be saying “that’s all” before making it through the film. Since every sartorial decision carried real gravity, it comes as no surprise that Molly Rogers was tapped for this sequel. 

Rogers has carved out a legendary path in communicating characters through costume. In 1984, she began working with Patricia Field in her inimitable Greenwich Village clothing store. Rogers called it “the epicenter of downtown.” According to the designer, when she walked in, Field was assembling rubber bracelets for a look for Madonna. Rogers worked with Field on music videos, which eventually led to working on Sex and the City and And Just Like That. For the original The Devil Wears Prada in 2006, Rogers landed the Associate Costume Designer position. 

After reading the script for the sequel, Rogers shared with The New Yorker that her first move was locating the cerulean sweater (you know… with the corn chowder stain). The sweater makes an appearance towards the film’s end with sleeves cut and worn over a button down. Speaking of button downs, Rogers leaned into menswear with Andy’s character, and at times, it was reminiscent of some of Diane Keaton’s choices in Annie Hall or Jane Birkin’s styling picks. 

From garments to accessories to full looks, there was plenty to obsess over in the sequel, including the stacked necklaces on Andy, the Valentino bag gifted to Lily, and the Dries Van Noten tassel-covered jacket on Miranda. A shimmering blue dress from Paco Rabanne came as a vibrant surprise. Armani Privé was worn as an homage to the late designer by both Anne Hathaway and Meryl Streep in Milan. Another fashion montage to Madonna’s “Vogue” evoked the necessity to pause a big screen in unprecedented ways.  

While the promotional rollout has been strong for the film’s leading stars, the fashion enthusiasts and scholars have been eager to hear from the creative behind the film’s wardrobe. Rogers collaborated with Printemps, for what she refers to as “an installation,” and the French luxury store in downtown Manhattan has been transformed around the sequel. Looks are stationed throughout the bi-level store, and there’s recognizable symbolism from the movie throughout it. A larger-than-life stiletto with a pitchfork heel can be found in the store’s Red Room. A Miranda Priestly desk complete with coffee and “that’s all” quoted on a laptop was staged by the base of the escalator. A “strike-a-pose” photo booth was situated near the main entry. 

On May 6, the costume designer was joined by Patricia Black for an exclusive event at Printemps that included a discussion and Q&A. To a full (and overflowing) audience seated and standing around the filled space, you could’ve heard a pin drop when she spoke about her creative process and movie details. On the store’s connection to the movie and seeking some specific garments, she shares “I knew I would see things I don’t see anywhere in the city.” The Oud blouse on Meryl Streep in Milan? Rogers found it at Printemps. 

Her collaborative installation with the store mirrors the process she had with the film’s actors. She shares that she is “open when an actor finds something better.” She added, “it’s collaborative and makes for a better outfit and a better movie.” When it comes to brands, she said that she’s “extremely interested in unknowns.” 

During the evening’s event, we couldn’t have possibly gotten all the tea from her extensive work in the field of costume design. But here’s some sequel trivia that served as takeaways from the night’s event. The Bjork t-shirt was a collaborative choice between her, her team and Hathaway. That Valentino stud from the film’s promotion? Not Rogers’ choice. She was “star struck by Gaga.” And during those early stages of charting her career—and despite her epic professional path—one of her first tasks in Field’s storefront was folding shirts designed by none other than Jean-Michel Basquiat.