The fashion in The Devil Wears Prada 2 is exactly what you’d expect—Armani couture, Valentino shoes, a Schiaparelli suit. The interiors, however, are a delightful surprise.
Twenty years ago, the first film set forth that late 2000s, early Millennial sensibility—minimal, muted, highly textural. There were charcoal walls and white flowers and mid-century modern furniture and lots of ivory carpeting: stylish, but not necessarily memorable. Those interiors have by now become standardized. The sequel did away with this cookie-cutter idea of taste and embraced the whimsy. Its interiors, be that Miranda Priestly’s (Meryl Streep) hotel room in Milan or Lily’s (Tracie Thoms) fabulous New York apartment, are surprisingly playful. That is because they’ve been furnished with the work of one of New York’s most imaginative artists: Misha Kahn.
“I thought they would use one random thing that you don’t really see in like, the corner of a shot,” Kahn says over the phone. “I would have thought that was cool already, so it was really exciting that they just took it all as such a part of that world.”
