The scene was reminiscent of the frenzy that goes on behind the scenes during fashion week: On a recent Monday, in a room full of racks of clothes, stylist Micaela Erlanger worked alongside a team of tailors and assistants. But they weren't preparing for a normal fashion show.
Erlanger and the group had gathered at his studio in Manhattan to prepare looks that actress Meryl Streep, a client of Erlanger's for 11 years, would wear during the press tour for “The Devil Wears Prada 2,” the lively sequel to a beloved movie set in a fictional version of a certain glossy fashion magazine.
In the sequel, Streep once again steps into the stilettos of Miranda Priestly, the publication's glamorous editor-in-chief. She stars alongside Anne Hathaway and Emily Blunt, who also reprise their roles as Andrea Sachs and Emily Charlton, characters who served as Miranda's assistants in the original film. Based on a novel and released in 2006, it has become a cult favorite among both serious and casual fashion followers.
To appeal to fans of the sequel, Streep appeared on the cover of Vogue and, along with some of her castmates, traveled to Mexico, South Korea, China and Japan in recent weeks for premieres. On Monday, cast members appeared in New York and will travel to London for more events before “The Devil Wears Prada 2” opens widely on May 1.
Each issue has offered cast members the opportunity to turn heads in their best attire alongside the clothing worn by the characters they play in the film. Balenciaga, Chanel, Valentino and, yes, Prada are just a few of the brands they have sported while traveling the world.
To accomplish this fashion feat, and avoid any styling missteps, Erlanger, 40, has been in constant communication with Erin Walsh, 43, Hathaway's stylist for seven years, and Jessica Paster, 60, who has been styling Blunt for two decades. The women have been operating as a kind of hive mind for months, sharing details of the actresses' looks—the brands, the accessories, the color palettes—in group chats, calls and conversations on the sidelines of the shows.
“I got to see Erin and Micaela at fashion shows,” Paster said. “We were whispering, 'I like that. I like that. I like this. I like that.'”
In a conversation that has been edited and condensed, Paster, Erlanger and Walsh talked about their collaborative relationship, what's at stake on styling press tours and the ways they've used fashion to generate buzz for “The Devil Wears Prada 2.”
How have each of you approached dressing your client for the press tour?
MICAELA ERLANGER With Meryl, we leaned into this idea of powerful silhouettes and shapes that you haven't necessarily seen her in. This is a trendy movie, we are leaning towards it. I would say there are many references that the fashion community will appreciate and enjoy. We've not only been referencing the first film, but also references within the film. I call it “meta-dressing.”
JESSICA PASTER You have to remember that Emily Charlton was an assistant 20 years ago. She has evolved. So I approach her like she's a little stronger: a girl with power. He no longer needs to borrow clothes. The designers now give her the clothes and she goes out to buy them.
ERIN WALSH I guess I hesitate to tell you a topic. I don't want to summarize it. Ultimately, it's always about how to make a person feel their best.
You said you communicate through group text messages. What are they saying to each other?
ERLANGER We have been, from logistics to creativity, creating strategies among ourselves. Which look works better here or there? What is the other person wearing? Will they look great together?
PASTER I remember a text between us saying, “I'm thinking red. I'm thinking a little burgundy red. And I'm also thinking red. Is it weird that everyone wears red?” I said, “No, let's lean on that and do it all in red.”
What we do is make a more beautiful image. If we have two people wearing red and one wearing white, purple, or black, that's the girl who should be in the middle of a photo. It's not about “My girl needs to be in the middle.” If something goes viral, it will help Erin; It's going to help me; he is going to help Micaela; and it will help the movie because it makes everyone excited and excited.
WALSH In our work, you are always presented with obstacles. By working together, we can better face any type of situation in a joyful and crisis-free way.
The style has a competitive aspect, in the sense that there are a limited number of looks and not everyone can always get what they want. How are you coping together?
PASTER There are many stories about stylists competing with each other. We are not. We are very busy. We don't have time. Micaela calls me because she needs something. I have many questions to ask Erin and Micaela. If one of these two girls needs me, I will be there to help them.
WALSH Eliminating everything competitive or non-collaborative from the equation makes us stronger. Improve our work.
ERLANGER Collaboration also benefits our clients. Everyone wins when we are aligned.
I'm curious, what stage of your careers were you at when the original “The Devil Wears Prada” was released?
ERLANGER We have stages of our careers that relate directly to the first film. I was an intern at Condé Nast, the company that owns Vogue.
WALSH I was an assistant at Vogue when it came out. I saw Anne on the screen. “The devil wears Prada” I knew, you know, in my skin.
PASTER I was a stylist and I was actually trying to get Emily Blunt as a client.
Modern press tours can include several premieres, as well as other events. How has that changed the way you work?
ERLANGER Social media has made every moment a photo opportunity. Even if it's a holiday where your clients are sitting in an interview room on camera, those images are captured. So every moment has become press-worthy. And therefore, there is more intentionality behind what customers wear.
PASTER People forget that we can't just bring one or two dresses, show off one look, and call it a day. Micaela and Erin are going with nine suitcases around the world to fit their girls, and I have two test trips to Ireland.
what clothes do you have you Have you been using it during the press tour?
WALSH You have to look good. In these situations, I tend to look for more empowering clothing items, like shoulder pads and heels. I don't work in apartments.
ERLANGER I need an apartment and I want to be more comfortable. I'm in jeans, a jacket, a button-down shirt, and flat shoes.
PASTER I'm working in sweats and with my hair in a bun.
