Gird your loins (and your wardrobe) for The Devil Wears Prada 2
Meryl Streep has been seen prepping for The Devil Wears Prada 2 on the streets of New York, with Priestly sporting her signature silver, side-swept hair, a sleek leather skirt from designer Gabriela Hearst, and shielding those professionally judgmental eyes with a pair of pitch-black Jimmy Choo sunglasses.
While Streep's character in the movie always has the final word – 'that's all' – as the editor-in-chief of Runway magazine, it's the return of Anne Hathaway as Andy Sachs that has fashion fans zooming in on photographs of costume labels for inspiration.
In the original movie from 2006, Chanel dominated Sachs' wardrobe, once Nigel (Stanley Tucci) helped her dispose of that cerulean blue sweater and introduced the character to tweed and thigh-high boots. This time the film's costume designers are casting the net wider, although so far, no Prada.
If you want to get ahead of the film's planned May 1, 2026 release date and steal Hathaway's looks, start with the Gabriela Hearst multicolour embroidered maxi-dress.
While the label isn't Chanel, the price tag is just as impressive, with the dress available from Gabriela Hearst for $13,400. The pale blue Fendi handbag Sachs carries is slightly more within reach of mere, mortgaged mortals at $2680 (although it's currently sold out).
More accessible and inspiring is an Agolde denim maxi-skirt worn by Hathaway with a simple white singlet from Toteme. While the originals are difficult to find, a quick trip to Cotton On or Kmart could put you on the right track, if it's unlikely you'll be standing near Wintour or the equally fearsome Streep playing Priestly in the near future.
The sold-out Chanel velcro sandals, which have a touch of the German backpacker (from the right side of Berlin) about them, worn with the everyday outfit by Hathaway, debuted in former creative director Virginie Viard's autumn 2022 collection and are now being sought out on second-hand sites.
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But there's no path for justice that we know in our society that works that way,' Victor says. Victor made the decision early not to show what happened. 'I think I never wanted to put my audience through a scene like that because we see it so often. But when people ask about it, something I think about is, 'Who's the camera? Who is the one watching?' It's hard for me to imagine where the camera would go.' There are works that focus on the experience of violence that are powerful; they cite I May Destroy You, where the pivotal rape is shot from the victim's point of view – but that wasn't their approach. 'Also, we often hear stories about horrible things that happen to people and we never get to witness them. We have to reckon with the fact we can't witness everything. I wanted the film to have this belief that Agnes' words are enough.' Agnes isn't the kind to wallow in pain; it creeps up on her. She tries for sexual intimacy with her amiable neighbour Gavin (Lucas Hedges) but the moment escapes her. 'It's not violent, but it's going through the motions of something that it feels like she's not really there for,' Victor says. 'One of the things this kind of trauma does is divorce the body from the spirit. I think it's a very surreal thing to understand that the rule we're told, that your body is your own, can be broken by someone. That is a very sad, daunting thing to come to terms with. In this case, it makes Agnes start from scratch with her body again.' That certainly speaks of Eva Victor's experience. 'I spent years floating, just trying to accept that I went through something bad,' they have said. ' Sorry, Baby honours those years lost. The quiet years where you still have to go to work surrounded by constant reminders, reminders that are invisible to others, that you're not like everyone else. The years where your friend's support can save your life, and where strangers can often make you feel safer than the people you're told to trust.' Lydia, Agnes' roommate, is a direct portrait of a friend Victor made in theatre camp as a teenager. They still call each other every day. John Carroll Lynch plays that invaluable stranger, who sees Agnes having a panic attack near his roadside sandwich bar, talks her through it, makes her a sandwich and sits on the kerb with her, munching companionably. Despite its dark background, Sorry, Baby is full of these moments of whimsy and lightheartedness. Hedges, speaking to Variety, compared Victor to Kenneth Lonergan, the master of downbeat realism who directed him in Manchester by the Sea, before saying they are not really like anyone. There is just as much in Victor of the spirit of Miranda July: in their chapter headings, off-kilter jokes and intimacy, something like reading a journal with cartoons in the margin. Victor cites Kelly Reichardt's Certain Women as a touchstone for this film, but is just as enthused by the raunchy Mexican sex comedy Y tu mama tambien, Alfonso Cuaron's breakthrough hit. Loading Eva Victor refuses to be limited by genre or gender. It will be fascinating to see what they do next. Sorry, Baby is at the Melbourne International Film Festival, which runs August 7-24, and in cinemas from September 4;
