When Miranda saunters through the Galleria Vittorio Emanuele II, Milan’s stunning historic shopping arcade, the lights shimmer off the colored crystals and black sequins on her Armani overcoat, turning her into a human disco ball.
“When I read the script, I was like, ‘That needs to dazzle,’” Rogers said of the statement piece from Giorgio Armani’s Privé spring 2025 couture collection, which she layered over a tie-neck Lurex Oud blouse and black trousers.
It was a choice she initially had some trepidation about.
“I was afraid of the pussy-bow blouse on Miranda Priestly,” she said. “Because that feels soft to me. But it was such a cacophony of colors and textures, and I felt like it was strong enough.”
Miranda’s black cat-eye Prada glasses are striking, of course, but Rogers said the boldest accessory was her side-swept white hair.
“I think that there was great resistance to that,” Rogers said. “People didn’t understand that.”
The look was drawn from that of the fashion editor Polly Mellen and the model Carmen Dell’Orefice.
“Meryl and Pat insisted on it,” Rogers said.
Power Gloves
Emily’s gala dress — a strapless Dior gown with a nude tulle and black lace corset top, matching opera gloves and a slinky black satin skirt with a double side bow — was Rogers’s favorite look from the film. Alas, it ended up on the cutting-room floor.
Still, she said, she loved getting the chance to bring an edge to a very un-Emily-like shape.
“When I think of Dior and bows, I think of Charlotte,” Rogers said of the preppy “Sex and the City” character. “So to take a Dior bow and make it look — there’s a bit of a goth idea there. And I thought that was really appropriate for her character.”
