Ashley shakes up prada’s world: a new dress code emerges in ‘devil wears prada 2’
Simone Ashley isn’t just playing Amari, Miranda Priestly’s ruthless first assistant in the highly anticipated ‘Devil Wears Prada 2’; she’s redefining the very aesthetic of power dressing.
Beyond gucci: a bold shift in style
Forget the ubiquitous Chanel and Louis Vuitton of the original. This iteration leans heavily into Thom Browne’s sharp, architectural suits – a far cry from the preppy knits and unapologetic flashes of Cartier favored by Emily Charlton. The stylist, Rebecca Corbin Murray, has masterfully crafted a visual statement, signaling a significant shift in the dominance of established luxury houses.
Stepping out in New York for the press promo, Ashley presented a deliberately challenging silhouette: a Balenciaga parachute jacket from 2003, instantly evoking echoes of Nicolas Ghesquière’s visionary, almost Matrix-like collections. Paired with a mini-skirt, ankle boots, and a City bag, it was a pointed rejection of the established iconography of high-powered femininity.
Archive revival, modern execution
But the story isn’t confined to a single moment. Off-screen, Ashley’s wardrobe reveals a calculated curation of British talent – from the heritage of Burberry to the understated elegance of S.S. Daley. Her preference for co-ords by Marine Serre and Miaou adds a contemporary edge, while accessories like Prada totes and Ralph Lauren hobos speak to a subtle, sophisticated sensibility. Notably, she shares a strong affinity for Balenciaga with Anne Hathaway, a consistent presence on the front row at Fashion week.
The trailer offers a glimpse of Amari’s reaction to Andy Sachs’s unconventional act – giving away a Chanel bag. In reality, Ashley’s approach is decidedly archival, a deliberate embrace of enduring style, rather than chasing fleeting trends. It’s a quiet rebellion, a subtle assertion of her own authority through the careful selection of timeless pieces.
A calculated risk
The visual language of ‘Devil Wears Prada 2’ isn’t about shouting; it’s about the precise, almost unsettling, confidence of someone who understands the power of understatement. And Simone Ashley, it seems, is perfectly positioned to deliver that message.