Among the sea of iconic 2000’s fashion films, The Devil wears Prada may be the most epochal. Not only for Meryl Streep’s renowned performance as Miranda Priestly, but for Andrea Sachs notable wardrobe transformation through the film. In this article, I’ll be writing about Andrea’s outfit choices, and how they reflect her life experiences.

The Interview

Andrea – ‘Andy’ – Sachs is introduced to the viewer wearing a bulky trench coat, gloves, black boots and a brown messenger bag. This is the viewer’s first impression of Andy’s fashion sense, and its not a great one. Starting with the colour scheme – lilac, white, black and tan. Whilst in theory black and white work well together, and so do lilac and tan, Andy’s execution is lacking. Together the colours are mismatched and out of place, her trousers are wholly black whilst her torso has three different colours. Moreover, the blouse-under-sweater-under-jacket look is…not flattering. To say the least. Similarly to the colour scheme, the conflicting textures create an off-balance to her look. As the film continues, the viewer comes to see that Andy dresses the way she does as a way to oppose her workplace. She doesn’t want to work in fashion, she wants to be a ‘serious journalist’ and therefore puts no care into her outfits in order to express herself – ironically.

The blue sweater

Perhaps one of the most memorable scenes from the whole film, the blue sweater. Here, Miranda Priestly informs Andy that her outfit that day does in fact make her relevant in the fashion world. ‘However, that blue represents millions of dollars of countless jobs, and it’s sort of comical how you think that you’ve made a choice that exempts you from the fashion industry when, in fact, you’re wearing a sweater that was selected for you by the people in this room… from a pile of “stuff.”’ This sends Andy into a rant to her boyfriend about how horrible the girls are, that they only care about clothes, etcetera, etcetera. Regarding her outfit, yes it is shocking. The combination of tan/green plaid with cerulean once again demonstrates not just Andy’s lack of fashion sense, but her lack of aesthetics. It doesn’t look pleasing to the eye, something that one should be able to tell without being a fashion expert. However, Andy does not care for this. She has strong morals, and not changing herself to fit in is one of them – therefore she refuses to dress the way expected of her by her peers.

The makeover

After being informed by her Miranda that she has been disappointed by Andrea’s work ethic. ‘But you, with your fancy resume and your big speech about your so-called work ethic– I thought you would be different. I thought, go ahead, take a chance, hire the smart, fat girl. I had hope. I always have hope. But you’re as disappointing as anyone else.’ After this, Andy finally breaks and goes to Nigel for help. The following scene is a montage of Andy commuting to work, in her new designer outfits, soundtracked to the Madonna song ‘Vogue’. A work of art, if you ask me. Andrea now starts to become more confident and secure in her job at Runway. Her outfits are cohesive and pleasing to the eye and she is praised by her peers. Whilst she has dropped her moral opposition to fashion, she is still Andrea Sachs.

The fall-out

Andy’s friends’ – and boyfriend – don’t take her makeover as well as hoped. However, the debate is still up for whether they are good or bad friends to Andy, you can decide. As she gets more and more entangled in the web of Runway magazine, she drifts from her friends and prioritises Miranda above all else. However, to side with her comrades, she is seen becoming quite intimate with a new male peer – whilst still dating her boyfriend, Nate. This is the spark that ignites Andy and Nates breakup, with Nate claiming she has no integrity; ‘You used to say this was just a job. You made fun of the Runway girls. And now you’ve become one of them.’. Evidently, this upsets Andy and she realises that maybe her job is all-consuming.

Furthermore, Andy is now the assistant who goes to Paris Fashion week with Miranda, not Emily. Emily was hit by a car, whilst shopping on behalf of Miranda, and is now in hospital – unable to attend. To break the news, Andrea visits Emily and regretfully informs her of the change in plans. Undoubtedly, Emily is furious; ‘I don’t care if she was going to fire you or beat you with a red hot poker, you should have said no.’ To this Andy responds, ‘I didn’t have a choice. You know how she is.’. Here, it is evident that Andrea has changed. Her morals are no longer standing, and she is becoming more like Miranda by the day – cutthroat and ruthless.

The Realisation

Attending Fall Fashion Week in Paris, Andy wears couture and as many designer clothes as one could wish for. For her breakup with Miranda, she is seen dressed in all black – perhaps rather symbolic of a funeral. Whose funeral? Undecided. Maybe the Andrea Sach’s who once worked for Runway Magazine, and who lost her morals because of it. It is in a taxi that Andy comes to the realisation that this job is in fact, not want she wanted. “Andy: ‘I couldn’t do what you did to Nigel, Miranda. There’s no way I could do something like that.’ Miranda: ‘Of course you can. You already did. To Emily.” This hits Andy like a brick, and instead of joining Miranda for another runway show, she walks the opposite way, throwing her mobile into the fountain as she walks.

The End

All is well by the end scene, Andy and Nate get back together, Andy gifts Emily all her Paris couture, Miranda gives Andy a profound recommendation letter and Andy gets her job in ‘serious journalism’. Perhaps one of my favourite outfits from this film, is Andrea’s ending look. A chic, yet casual, workplace attire, complementary colours; black and brown, a flattering silhouette. It’s perfect. Comparing this look, and the opening look, it’s obvious how big an impact Runway has had on Andy – whether she likes it or not. Andrea applies the fashion advice she attained from Miranda and Nigel and Emily but now doesn’t let it interfere with who she is as a person. Her outfits compliment her appearance, and she isn’t pretending to be someone she’s not.