As Anne Hathaway steps back into Andy Sachs’ world for the press tour of 'The Devil Wears Prada 2,' her wardrobe choices offer more than mere style notes; they are a study in lingerie-adjacent power dressing. Her appearance in Mexico City, featuring thigh-high boots with a slouchy, leg-obscuring fit, directly references a foundational principle of intimate apparel: the art of shaping a silhouette. This boot style, which plays with volume and concealment, echoes the structural philosophies of corsetry and foundation garments that historically sculpted the body from the outside in.
Notably, Hathaway’s selection of Schiaparelli pumps connects a modern press tour to a radical history of surrealist fashion. The house, founded by Elsa Schiaparelli in the 1920s, was a contemporary and rival of lingerie innovator Madame Vionnet. While Vionnet mastered the bias-cut slip dress, Schiaparelli shocked with anatomical prints and hardware-like fastenings, treating the body as an architectural site. The keyhole detail on Hathaway’s vamp is a direct descendant of that provocative, boundary-pushing ethos.
Her Stella McCartney sequined dress, meanwhile, represents a more recent chapter. McCartney, a staunch advocate for alternative materials, built a brand where luxury meets a conscious ethic, much like the shift in modern lingerie towards innovation and sustainability. As Hathaway and Meryl Streep’s Miranda Priestly return to a landscape of print media decline, their footwear—from Schiaparelli’s legacy to Streep’s accessible Aldo slingbacks—narrates a story of authority, accessibility, and the enduring language of dressing from the ground up.
Originally reported by WWD