Of the many killer lines Miranda Priestly coldly states in the film version of The Devil Wears Prada—putting cerulean and the economics of materiality onto the map for the rest of us—one of my favorites comes near the end. After a fluttering treat of Parisian couture, a visual sign that we’re approaching the climax of our cinematic jaunt through the pre-influencer fashion world, we find ourselves in a car watching a scene between Miranda seated next to On-dray-ah looking like she’s playing an actress called Anne Hathaway.
"Calculating"
"Calculating"
"Calculating"
Of the many killer lines Miranda Priestly coldly states in the film version of The Devil Wears Prada—putting cerulean and the economics of materiality onto the map for the rest of us—one of my favorites comes near the end. After a fluttering treat of Parisian couture, a visual sign that we’re approaching the climax of our cinematic jaunt through the pre-influencer fashion world, we find ourselves in a car watching a scene between Miranda seated next to On-dray-ah looking like she’s playing an actress called Anne Hathaway.