Costume Designer Molly Rogers Breaks Down The Devil Wears Prada 2's Biggest Fashion Moments

Summary

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Podcast Summary: The Run-Through with Vogue

Episode: "Costume Designer Molly Rogers Breaks Down The Devil Wears Prada 2's Biggest Fashion Moments"

Date: April 23, 2026
Hosts: Chloe Malle & Nicole Phelps
Guest: Molly Rogers (Costume Designer, The Devil Wears Prada 2)
Special Appearances: Alice Newbold (Vogue UK), Various Vogue staffers

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Episode Overview

This vibrant episode dives deep into the fashion, cultural impact, and behind-the-scenes creativity surrounding The Devil Wears Prada 2. Hosts Chloe Malle and Nicole Phelps discuss New York’s current fashion climate, event season, and the heightened buzz around the much-anticipated film premiere. The second half features a long, insightful interview with Molly Rogers, who shares details about revisiting iconic characters, navigating modern fashion, collaborating with Meryl Streep, and choosing breakthrough costume pieces for the sequel. The conversation blends humor, nostalgia, and keen industry analysis, truly taking listeners inside Vogue’s world.

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Key Discussion Points & Insights

Fashion Events & Scene-Setting

• Met Gala Preparations: The city is in "full sprint" toward the Met Gala, amidst an especially busy event season. (02:00)
• Devil Wears Prada 2 Premiere: Chloe attended the dazzling New York premiere: "The red carpet itself, it was bigger than the Met's red carpet... people were on the red carpet for like almost an hour." (04:01)
• Star Style: Observations on the fashion choices of Meryl Streep, Anne Hathaway, and Emily Blunt, with special attention to their bold and playful looks. (05:13)

Designer Collaborations & High-Low Fashion

• Fashion Collaborations: Discussion of Victoria Beckham x Gap, Cecilie Bahnsen x Uniqlo, and Christoper John Rogers x Old Navy as part of a "new golden age" of high-low designer partnerships. (07:26)
• Legacy Collaborations: Nostalgic recounting of Stella McCartney’s 2005 H&M collection and its significance. (09:01)

Behind the Scenes: The Devil Wears Prada 2

Molly Rogers Interview (~15:00–52:00)

Molly’s Path & Philosophy

• Legacy with Patricia Field: Rogers leans on her "historical perspective" working alongside Field, emphasizing character-driven style over pure spectacle.
  • “Even before I read the script, I knew that Pat had established their DNA.” (15:09)
• Styling Ethos: “I don’t like to do red carpet. I like to read a script and assign a look, not just request looks.” (19:29)

Iconic Pieces and Controversies

• The Red Valentino Rockstud Pump: Not a deliberate choice for Miranda—marketing team intervened, which conflicted with character consistency.
  • “I did not think it was appropriate for Miranda to wear a rock stud... I'm glad if people like it because it’s a callback or whatever. But if you don’t like it, I understand that too.” (21:23)
• Closet Moments: The infamous fashion cupboard scene is “a magazine moment... people examine them.” Molly includes racks from fashion grads and rare pieces like a Gaultier archive gown. (25:30)
• Brand Partnerships: Initial film faced resistance; sequel saw a flood of designer offers.
  • “In the first movie, there were three design houses that said we really can’t participate... Not like the second one where this was, we've got to edit. There’s so much coming.” (27:19)

Character Evolution in Costume

• Miranda Priestly: Maintains a “strong silhouette—clean, powerful, confident.” Collaborating with Meryl, shoulder pads become an emblem.
  • “The minute she put the jacket on...it was a Miranda Priestly walk.” (30:19)
  • Memorable: “No, they’re gonna pry it [the Dries tassel jacket] from my dead fingers. It’s gotta be in the movie.” (39:05)
• Emily (Emily Blunt): Fashion-forward, still carries “edge” via bold designers and, occasionally, risky materials—“we proceeded to scratch her to death getting it off of her.” (31:47)
• Andrea/Andy Sachs (Anne Hathaway): Now a world-traveling reporter with a believable, mixed-influence wardrobe. Her character’s personal style reflects experience and practicality, with thrifted and vintage finds integrated.
  • “Her transformation in the second one is because Nigel throws her stuff for loan from the closet.” (22:46)

Easter Eggs & Fan Moments

• Cerulean Sweater’s Return: A "DIY comeback" after retrieving the original (with corn chowder stain!) from studio archives. Anne Hathaway herself cuts the sleeves off for authenticity.
  • “I heard snip, snip. And [Anne] had grabbed scissors and chopped the sleeves off...So do it yourself.” (35:18)

Realism vs. Fantasy

• Editor Uniforms vs. Movie Extravagance: Acknowledges that real editors often wear everyday pieces, but film costumes must elevate the fantasy.
  • “In the beginning...I thought Miranda should continue her pencil skirts...it looked dated, it wasn’t fresh...Meryl is one of those people who wants to experiment.” (28:39)

Collaborations & Fittings

• Actor Involvement: Costuming is highly collaborative; Meryl and Anne were both deeply involved, with Anne bringing new references and experiences.
  • “If an actor is collaborative...You make a better outfit and you make a better movie.” (30:47)

Montage Chaos & Party Prep

• Montage Logistics: Montages are “chaos, despair, depression” but allow for bold, rapid-fire fashion hits—look for the Fendi blue moment. (41:22)
• Big Scenes: Party and fashion show sequences are easier to prep due to advance notice and industry support. (43:03)

Iconic Red Dress Finale

• Miranda's Pierre Paolo Red Look: Born from the idea that "the devil comes back in red." The team collaborates with Pierpaolo Piccioli to achieve a perfect, memorable frame for Miranda’s character.
  • "Meryl wanted a big say in the shoulder pads...There is no other color. The devil comes back in red." (50:07)

New Gen Assistants & Vintage Influence

• Styling New Cast: Molly enjoys evolving young characters’ looks—mixing contemporary brands with vintage finds for depth and authenticity. (48:27)

Fashion’s Emotional Core

• Meryl’s Generosity: “My whole department, we worship her...She is the most generous person I have ever worked with.” (47:20)
• Reflection: Sometimes favorite pieces and boldest ideas are left on the cutting room floor.
  • “You kill your darlings, is the saying, right? It happens for a reason.” (44:43)

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Notable Quotes & Memorable Moments

• Chloe Malle on the sequel’s premiere scale:
  “It was bigger than the Met’s red carpet...It was overwhelming to witness.” (04:01)
• Nicole Phelps on fashion’s lasting power:
  “You can still see some of these collaboration pieces, like, for sale on the RealReal. And there is a market for them, which I find really, really interesting.” (09:01)
• Molly Rogers on costume legacy:
  “Even before I read the script, I knew Pat had established their DNA…So I just kept saying to myself, a million girls would kill. So enjoy it.” (15:09)
• On Actor Collaboration:
  “If an actor is collaborative and there’s a healthy change of...no one feels timid to try it. You make a better outfit and you make a better movie.” (30:47)
• Emily Blunt in the Rick Owens “porcupine needle” gown:
  “We proceeded to scratch her to death getting it off her. But it looked incredible. If I could have figured out a way to not make her bleed, that gown would have been in the movie.” (31:47)
• On finding Miranda’s new silhouette:
  “The minute she put the jacket on... it was a Miranda Priestly walk. I knew. And she looked at me and she was like, we found it.” (30:19)
• On the return of the cerulean jumper:
  “It still had the corn chowder stain on it... I heard snip, snip. And [Anne] had grabbed scissors and chopped the sleeves off.” (35:18)
• Miranda’s Red Gown, with Meryl’s input:
  “There is no other color. The devil comes back in red.” (50:07)
• Meryl on the controversial tassel jacket:
  "No, they're gonna pry it from my dead fingers. It's gotta be in the movie." (39:05)

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Timestamps for Key Segments

• 00:00–04:34: Premiere recap, red carpet, and event season context
• 04:34–11:42: Red carpet analysis, Met Gala prep, and high-low collabs
• 15:00–52:00: Main Molly Rogers Interview
  • 15:09: Molly’s legacy with the first film; Patricia Field’s influence
  • 21:23: Rockstud pump controversy
  • 22:46: Character wardrobe evolution for Miranda, Andy, and Emily
  • 25:30: Closet/fashion “cupboard” moments
  • 27:19: Brand participation then vs. now
  • 28:39: Editor real-life uniforms vs. movie fashion fantasy
  • 31:47: Emily Blunt’s daring gown fittings
  • 35:18: Cerulean jumper’s DIY comeback
  • 39:05: Dries tassel jacket & Meryl’s commitment to the look
  • 41:22: Montage hell and Fendi blue
  • 44:43: Favorite unused costumes (“kill your darlings”)
  • 47:20: Praise for Meryl Streep & Sarah Jessica Parker in fittings
  • 50:07: Miranda’s Pierre Paolo red dress

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Episode Tone

The tone is playful, affectionate, a little bit gossipy and highly insider-y—balancing reverence for fashion’s icons and processes with wit, candor, and a sense of fun. Molly Rogers is warm, self-aware, and enthusiastic, making the details of costuming both accessible and fascinating.

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In Summary

This episode offers a lively and thorough behind-the-scenes look at The Devil Wears Prada 2’s costume process and film impact, brimming with insider anecdotes, creative struggles, fashion history, and sharp Vogue commentary. Whether parsing the subtlety of Miranda’s silhouette, the ethics of practical high-low fashion, or the storytelling in a single closet shot, Molly Rogers and the hosts deliver an episode rich in fashion lore and storytelling. An essential listen for fashion fans and film buffs—no cerulean sweater required.

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Transcript

[Chloe Mal]

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[Pran Bandy]

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[Chloe Mal]

This is the Runthrough. I'm Chloe Mal and today I'm here in the studio with our wonderful co host Nicole Phelps.

[Nicole Phelps]

Hi Chloe.

[Chloe Mal]

Nicole, It's a big week. I feel like basically since I got back from spring break the end of March, we've been in sort of a full court sprint towards the Met Gala and it's just it also is very robust event season in New York City. I feel like everyone's come out of

[Nicole Phelps]

winter hibernation even though the temps remain chilly.

[Chloe Mal]

The temps do remain chilly, but we're starting to see our gala season has commenced. I went to the black tie Tiffany and I was like, ooh. Having to like multiple black tie dress codes is. It's a tall order, but we want

[Nicole Phelps]

to talk about the Devil Wears Prada too. You were at the premiere.

[Chloe Mal]

I was. And we have Molly Rogers, the costume designer, on the show this week. She and Alice Newbold, Executive Fashion News and Features Editor at Vogue uk, are on the podcast later this episode and I am very intrigued to hear what she has to say because the costumes are wacky.

[Nicole Phelps]

That Quote, was it Meryl who gave it from the first film that they couldn't work with fashion labels because people were afraid to loan them clothes because of offending Anna at the time. And I guess this time was a completely different story.

[Chloe Mal]

That is not the case now. You really see everyone. There's a lot of designer cameos in the movie. Marc Jacobs, Donatello, Versace, Domenico, Dolce. So there's certainly. It's a different, different approach. But yes, the. The costumes are eye catching.

[Nicole Phelps]

Were you at the Dolce and Gabbana show? I was not when Miranda Priestly walked in, no.

[Chloe Mal]

But there are big overhead shots of that. And I was hoping that they would do sort of a wink and pan to Anna across the catwalk, but they did not.

[Nicole Phelps]

That was a very meta moment for all of us.

[Chloe Mal]

Yes. Now that features prominently. A lot of the movie takes place in Milan.

[Nicole Phelps]

Talk about meta.

[Chloe Mal]

Yes. But the premiere was overwhelming.

[Nicole Phelps]

I've never seen. What did you think of the red carpet fashion?

[Chloe Mal]

Well, the red carpet itself, it was bigger than the Met's red carpet. I mean, it truly. They built it around the fountain at Lincoln center, so it was a full, like, keyhole shape to go around it. And people were on the red carpet for like almost an hour. It was unbelievable to witness. And then you got inside and it was like Epcot center of activation booths. From a Zillow photo booth in an elevator to a sitting in a mini version of Miranda's office to trying on clothes in the closet. It was just overwhelming.

[Nicole Phelps]

I was very intrigued to see both Meryl and Anne in red and then to see Emily Blunt in the scene stealing Schiaparelli couture.

[Chloe Mal]

I do agree with some fashion commentary that Emily Blunt's dress looked fantastic on her, but maybe wasn't a group photo dress. But yes, I thought everyone looked great. I've been loving Meryl's press tour looks. I think she's been really having fun with it. Her stylist Michaela Erlinger did an interview with Christian about it. And they're just sort of being cheeky and going, going wild. She wore an amazing furry tiger print Gucci jacket earlier in the day. And then.

[Nicole Phelps]

I love that look.

[Chloe Mal]

I know. And then a Givenchy leather, bright vermilion leather cape, long cape dress to the premiere with black gloves. I thought she looked fab. And Anne Hathaway, I thought, looked great in custom Vuitton.

[Nicole Phelps]

Yeah, I really like Meryl, too. It's a way to be formal but sort of casual at the same time. And I think that's a hard. A hard balance to strike. And I think she's doing a good job of that.

[Chloe Mal]

I mean, it was such a big premiere. It was 2,000 people at Lincoln center and David Geffenhall and one from Bob Iger to, you know, our CEO Roger Lynch. But then also every person in the movie, which had so many cameos, including Lady Gaga and every designer and commentator and personality. It was just. I felt overwhelmed.

[Nicole Phelps]

Well, I have to say that I never read the book when it came out, and thanks to the Vogue Book Club, I did. And, you know, I. I was bemused, I would say is my general reaction. I felt it was insidery than maybe it got credit for at the time.

[Chloe Mal]

Yeah.

[Nicole Phelps]

And what I like about the book

[Chloe Mal]

is that she clearly took very copious notes throughout her time working for Anna because it is almost like a forensic accounting of the day in Anna's office in the early aughts. And I thought that was really interesting.

[Nicole Phelps]

I am totally with you. It was like you saw a very, very clear picture of what that office was like, but not what the rest of the dealings of the magazine were. So. And to me, you know, there's a lot. I'm very interested. I'm a girl who's behind my computer all day working with copy. So the way a photo shoot unspools is super fascinating to me. So if there's ever another expose about Vogue, I hope that's what somebody writes about.

[Chloe Mal]

Speaking of the Vogue book club, we have our special screening of The Devil Wears Prada 2 and book club conversation next week at the Metrograph. Very excited. Speaking to Billee Norwich and Kate Young, both of whom worked at Vogue in the early aughts and are very smart, funny, cultural critics.

[Nicole Phelps]

I would say I'm looking forward to that, too. In other fashion news, it has been a very big moment for high low collaborations. In fact, I think we're in a new golden age interest of high low collaborations, probably because high fashion is so damn expensive. And this week we have Victoria Beckham in town from London. She's here in New York to celebrate her collaboration with Gap. Thanks to Zac Posen, who. Who made that happen.

[Chloe Mal]

I'm excited for that. I, like, I looked, saw a picture, a couple pictures in the Vogue exclusive. And I thought, I think the capris look cute.

[Nicole Phelps]

Yes.

[Chloe Mal]

And they interact.

[Nicole Phelps]

Yes. Victoria sort of casting her eye over all American essentials. I'm sure the. The Gap hoodie with her name underneath the G A P will be a hit. And there's not only that. Earlier this week, we announced that Cecily Banson, who is a very popular Danish designer, has a collaboration with uniqlo. And people who like her romantic sensibility will be happy to see it sort of reimagined in more everyday jersey materials. Like, if you want a ruffle and you want it on a T shirt, this is the collection to shop.

[Chloe Mal]

Not to mention, last week, Christopher John Rogers with Old Navy. I thought a lot of those pieces

[Nicole Phelps]

looked fun in his classic colors. The greatest colorist there is. And of course, Stella McCartney and H&

[Chloe Mal]

M. I love to hear that you still have your pieces from that collection 20 years ago. What a tribute to the staying, lasting power.

[Nicole Phelps]

What is it called? The user cost ratio. I definitely got my money's worth from the denim jeans you amortized. Yes, I amortized the heck out of them. You know, that was a huge, huge scene. I remember when it happened, I think it was 2005. And it'll be interesting to see if, you know, she can stir up the same kind of enthusiasm all these years later. Obviously, as we've been saying, it's not a new concept, but there is a lot of hunger for pieces, even though they're not true Runway designer pieces. You can still see some of these collaboration pieces, like, for sale on the RealReal. And there is a market for them, which I find really, really interesting.

[Chloe Mal]

I know it's intriguing to me. I mean, I still have my dress from the Isabel Marant H and M collection that I, you know, it was, what, 15 years ago? I love that. So, yeah, those. Those collections really are.

[Nicole Phelps]

Do feel special sort of markers of time.

[Chloe Mal]

I think I wear my Gap Doan stuff all summer.

[Nicole Phelps]

I have a great little tote that has Albert Elbaz's famous illustrations on it, and we should. I'm glad Albert came up because it's the fifth anniversary of his passing, and, you know, it's a sad, sad thing to think about, but so really intriguing that designers keep mentioning him on the runways. You know, I'm thinking about the. Daniel Roseberry at Schiaparelli was talking about his Lanvin collections. And so he's. He's been on my mind lately.

[Chloe Mal]

There's been so many events. I mean, poor Freya, who oversees our party coverage, has been absolutely scrambling. But my big event last week was Tiffany's big Blue Book gala at the Park Avenue Armory. They took over the enormous armory and turned it into, basically, Bunny Mellon's garden in Virginia. And they had enormous flowering plants everywhere, which then they donated to Bette Midler's New York restoration Project to be planted and Mariah Carey performed, which was very exciting. And I sat across from Connor's story, which I was very excited about.

[Nicole Phelps]

Is he as charming in real life?

[Chloe Mal]

He was charming and happy to be there. Happy to be at the party, which we love to see. And everyone was very focused on Coachella this past weekend. I was at Dave and Buster's Times Square with my children. But. But I know that everyone was extremely activated about Justin Bieber bringing Billie Eilish on stage for One Less Lonely Girl and Madonna and Sabrina Carpenter was a big moment.

[Nicole Phelps]

And how about poor Madonna's clothes going missing? Did you see that?

[Chloe Mal]

No.

[Nicole Phelps]

She posted that the pieces that she wore on stage, that purple leotard were stolen. I don't know if they've been recovered yet. Oh, my God.

[Chloe Mal]

It's like the Louvre scandal part two.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Yes.

[Nicole Phelps]

Because she wore them, you know, back in the day on the, I think The Confessions Tour 1. Oh my God.

[Chloe Mal]

I missed that whole storyline.

[Nicole Phelps]

Fashion history. Fashion and pop music history there.

[Chloe Mal]

Wow. I also thought it was interesting seeing how brands, luxury brands used Coachella and I think Vogue business also did an article about how powerful Coachella still is as a marketing ground. And you know, having Sabrina and Dior and Ethel Cain was in Dior. Two very different versions of a Jonathan Anderson lady.

[Nicole Phelps]

Such a big platform.

[Chloe Mal]

Platform is the word I was looking for.

[Nicole Phelps]

And of course, the biggest platform of all is the Met Gala less than two weeks away.

[Chloe Mal]

Yeah, we're really in full Met Gala prep mode here at Vogue. We many meetings. Many, many editorial planning meetings. Nicole, what are you wearing to the Met?

[Nicole Phelps]

Ooh, it's a work in progr. I'm really cutting it close this year.

[Chloe Mal]

Are you gonna hint anything?

[Nicole Phelps]

It's looking like it will be an American designer. Excellent.

[Chloe Mal]

Me too.

[Nicole Phelps]

Right? We'll be representing New York.

[Chloe Mal]

Very excited. And we actually just yesterday published photographs by Annie Leibovitz styled by Law Roach, featuring members of our Met Galahos committee like Misty Copeland and Alex Khonsani. I have to say I love the photo of Alex in this billowing mango colored Balenciaga dress. That was one of my favorite. We also announced today we have a big two weeks coming up because we have our book club event next Monday. Next Friday we have our pre Met staff party which we're very excited about. And then next weekend we are doing New York City's first ever Vogue cafe in Soho and I think it's gonna be fantastic. I can't wait.

[Nicole Phelps]

Stop by.

[Chloe Mal]

Yeah, stop by. It's at Altro Paradiso popping up Saturday through Monday. Very excited about the pastries. Hahne's Bakery are doing custom pastries for us. It's gonna be great.

[Nicole Phelps]

Chloe likes them. You know, they will be good.

[Chloe Mal]

Nicole, thank you so much for joining us this week on headlines.

[Nicole Phelps]

Thank you.

[Chloe Mal]

We always love to hear about all of our fashion news. And we'll be back with Molly Rogers, The Devil Wears Prada 2 costume designer. After a quick break.

[Nicole Phelps]

Comprehensive, witty, speculative, critical, insightful, profound, wide ranging. Hopefully doesn't take itself too, too seriously.

[Molly Rogers]

I'm David Remnick, and each week on the New Yorker Radio Hour, my colleagues and I try to make sense of what's happening in this chaotic world.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

I hope you'll join us for the New Yorker Radio Hour wherever you listen to podcasts.

[Nicole Phelps]

Thoughtful, exquisite, just, you know, real.

[Pran Bandy]

So.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Hi, Molly.

[Molly Rogers]

Hello.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Congratulations on The Devil Wears Prada 2.

[Molly Rogers]

So exciting.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Take me back to when you first got the call. What was your original reaction?

[Molly Rogers]

I was so thrilled that I was going to get to revisit that world. I knew that I was fortunate that I had worked on the first one with Patricia Field and that I had a, let's say, legacy with it. So I knew I was the best person for it. You know, it just really helps to have that historical perspective, I think. I mean, it does add something to what you're bringing to a project. It felt kind of like coming back within just like that, like coming back to summer camp with people that you missed and you wanted to see again. So I was not concerned about bringing them forward in time. Even before I read the script, I knew that Pat had established their DNA. So, you know, this is the editor, this is the assistant, this is the fish out of water that it would just be about continuing that DNA in the second one. So I just kept saying to myself, a million girls would kill. So enjoy it.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Talk us through your cv. In case our listeners don't know, you're of course, the woman behind and just like that's headline making costumes such as Carrie Bradshaw's JW Anderson pigeon clutch.

[Molly Rogers]

Yes, what a win that was. I owe all of this to having worked and been friends with Patricia field since the 80s. When I was a small, small baby, I came to New York with a dream and I met Pat. And she had a very famous store on 8th street in the 80s. And it was just the intersection of social life. Let's say that store was the Internet. Now everybody went there and MTV had just started and we started styling and that just progressed over the years into sex and The City and the two movies and the first, Devil Wears Prada. And then I never dreamed I would see the Sex and the City girls again. But with. And just like that, Pat was busy doing Emily in Paris, and I wanted to do that with her. But it was great to stay in New York with Sarah Jessica and have fun reimagining them. But the pigeon bag, it's funny that you mention that. I wasn't aware of it. And my friend who is my date tonight at the London premiere is a very good documentarian, a French guy, and he's really good friends with Sarah Jessica Fabian. And he was on vacation in Italy or Greece or somewhere, and he sent a picture to me, and he was holding a pigeon. And I was like, have you trained a bird? And he was like, no, this is a JW Anderson bag. And I was like, well, that's a Sex and the City moment. That's a Carrie prop if I've ever seen one. Because not to make this a super long story, but, you know, I found the Eiffel Tower bag that Carrie carried quite a bit. We crystalled it, and she had it in one of the movies, I think maybe the sixth season, when she was running around Paris. And I had always looked for a bag that would memorialize the city of New York. And I would see apples and, you know, statue. They just didn't move me. And I didn't want a rat or a piece of pizza. It's too corny. And when I saw that pigeon, I was like, that's a New York mascot. Let's make it famous. And I loved what she did in that scene.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Yep.

[Molly Rogers]

Took a piece of chewing gum out of the wing.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Incredible.

[Molly Rogers]

She really knows what to do with garments.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

I love that it was the pigeon that did it for you.

[Molly Rogers]

Honestly, I had to call them and ask them for one for myself.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Fantastic.

[Molly Rogers]

I was like, I hate to beg, but, I mean, guys, will you send me one?

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Can you take me back to working with Patricia Fields, who costumed the original film? Obviously, as you said, did she give you any advice for this new film?

[Molly Rogers]

No, I really didn't bother her for, you know, what's your take on it? Got a little hint. Got a good idea for me? I felt like I had gotten so much from her through osmosis in all these many, many fitting rooms over the years that I knew it just needed. I wanted to give it perspective. And I'm sure there's a lot of her in me. Obviously, I've just been by her side through so many closet scenes. And shoe shots. And I just thought, you know, she wished me well. She's busy. But I just felt like it was good to interpret it on my own, with my own experiences, because she has a style and I do as well for characters. I don't like to do red carpet. I like to read a script and assign a look, not just request looks.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

So good. When the trailer came out, one of the first pieces that stuck out for us was the siren Red Valentino rock stud pumps. Did you know that the nostalgic heels would make such a splash?

[Molly Rogers]

I'm gonna give you the real story, okay? I had forward to Milan where we were going to shoot some scenes. I was not there that day when they were shooting another scene and they just popped the shoes on Meryl. I had chosen another shoe. I got panicked phone calls from assistants saying that the marketing team had decided that they liked this other shoe. Which at the time I took great offense to because I knew that a marketing person didn't know anything about a rock stud.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Right.

[Molly Rogers]

And I did not think it was appropriate for Miranda to wear a rock stud. But they liked the way that it looked, but it was not character appropriate. So from afar, I was sending pins into voodoo dolls, let's say. But marketing, they have a different objective. They need to catch eyeballs and they don't know about character. Like I was telling someone the other day, you could give most of us, especially me, a rack full of white blouses and I could choose the one that Miranda would wear and the one that Emily would wear and the one that Annie would wear. There are nuances, just like the two blue belts in the first movie. We know the difference. So I. When I saw that hubbub about that shoe, I was like, I'm innocent. I'm glad if people like it because it's a callback or whatever. But if you don't like it, I understand that too.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

But it caused quite the fur all.

[Molly Rogers]

It's a great shoe and it did what it needed to do. Walk into the elevator. But there were others there.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Got it. Well, tell me about the process of picking up the Devil Wears Prada characters. Wardrobes, 20 years on. What did you take from the first film?

[Pran Bandy]

What?

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Through lines? Can we see?

[Molly Rogers]

Well, like I said earlier, the DNA for the first film is so strong. You know, a woman that. A character that Meryl and Pat created. We weren't shooting a documentary on Anna, you know, it's true. They needed to create a character that didn't exist. Appearance wise and other reasons. But, you know, it Was obvious that a powerful woman like that would have a very strong silhouette. She wouldn't need a lot of frills or bows and whistles. And with an actress like Meryl, you don't need to adorn them. You know, you just need to create a frame. So that was kind of my moda operandi. You know, I followed that rule to just go very clean and powerful and confident and all those buzzwords for a woman of that stature. And Emily Blunt's character because she's so sharp witted British, that rotten biting humor that we all love so much. Her costumes got to have the edge in the first movie. And we went to century 21 all day long and scooped Vivienne Westwood and Rick Owen and Margiela and threw that all together for her. So she is the most fashion forward of the characters in the first movie. So I followed that through line. And Andrea Sachs was not as difficult in the first movie as she was to formulate an idea in the second one. She was a fish out of water in the first movie. The end, okay. Her transformation scene is the Chanel thigh high boot. You know, that's when she, you know, she has access to this fabulous closet. But in the second one, she's a world traveler because she's a reporter. She's been exposed to a lot. She didn't totally reject the fashion world because she's a New Yorker and she's smart and she shops consignment stores. So she needed a real mix of believability. And her transformation in the second one is because Nigel throws her stuff for loan from the closet. So it also had to be something her character would wear. Just heightened a label, let's say. So she was a bit. She was a process for sure.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Speaking of the fashion cupboard, it feels like a pivotal moment in the film. Again, how did you deck it out? There's been so much discussion online about that totem embroidered two piece.

[Molly Rogers]

Really? Well, that was in the script. You know, when things are referred to in the script, we try to follow that rule. And set decoration had a great deal to do. It's really not my job to deck a closet out. But of course they come into our room and say, what do you recommend? Who should we ask? Who's generous? Where should we go? No open toed shoes. You know, rules to kind of make the eye candy delicious. There's a friend of mine that has this little picnic basket that looks like a three tiered wicker cake. I made sure you'll see that right in the middle of the table in one of the. It's adorable things like that that are really special, that people have done their damnedest to get to us, but we haven't gotten on. A character I try to feature in the closet scene, a scad student, which is a fashion school in the U.S. their students submitted their graduation fashion lines, and I chose a dress. And you see it right there has feathers on it. There's a mannequin in the closet of something we were all in love with, a Gaultier archive gown that had fishnet Eiffel Tower on it. No one wore it in the movie, so we made sure it got in the closet. Those kind of things, I think, are important. Like they were on Sex and the City. When she went into her closet, she was creating a moment, a magazine moment. Watch Carrie style herself. So those closet scenes, I think, are really looked forward to. And people examine them.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

They do. We love to hear that fashion grads are included. That's fab.

[Molly Rogers]

I like to support that kind of thing.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Meryl Streep said, unbelievably, that no brands wanted to be part of the first Double Wears Prada. Now brands are obviously fighting to be part of the film. How did you manage that?

[Molly Rogers]

Let's see. I would say in the first movie, there were three design houses that said, we really can't participate. We don't know what the backlash would be. And, for example, one totally understood Mr. De la Renta, who was very, very close to Anna and had no idea how this was gonna be portrayed, or, you know, a loyal friend. So Pat just kept saying, there's a lot of clothes in the world. And Mr. Valentino was the first designer who saw Meryl on holiday in Italy and said, whatever you need, I'm here to supply. So that was lovely. So there was participation, but not like the second one where this was, we've got to edit. There's so much coming into this room. We've got to be able to take all of these IT bags and figure out which one you would want to see ten years from now.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Totally. I mean, there's been a lot of chat in our office about editors living in the same navy jumpers and jeans every day, rather than the catalog of fashion that we see play out in the film. Were you worried about tapping into reality, or did you just, above all, fun?

[Molly Rogers]

That is such a good question. And I haven't gotten to really talk about this in my mind. Andre Leon Talley and Karl Lagerfeld and numerous people wear a uniform. It's true. It's easy. You are recognizable as the icon that you are. And it's a uniform. It's great. So in the beginning, early in the pre production, I thought, I think Miranda should continue her pencil skirts and her short cropped bolero jackets. It looked great on her in the first movie. So all of that was shopped, that kind of silhouette that's just clean and streamlined. Well, we stuck our toe in the first fitting with Meryl, and it was not working. Even though it was modern designers, it looked dated, it wasn't fresh. We weren't bringing anything new to the picture. And this was my thought process, which, luckily for me, Meryl is one of those people who wants to experiment, does not mind trying on an idea until we find it. You know, she thought, yeah, let's give pencil skirt, you know, a chance again. So it was just luck that there was a skirt and a blazer there, a sport coat that had a totally different feel from everything we had were trying on. And the minute she put the jacket on from this company, I saw her walk differently towards the mirror. Like, it was a Miranda Priestly walk.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Incredible.

[Molly Rogers]

And I knew. And she looked at me and she was like, we found it. It's this shoulder pad. It's this cuff that I can use in the scene to exclamation point, whatever I'm talking about. So that was lucky, because for a minute there, I was like, are we gonna find it?

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

I mean, I read that Ewan Meryl collaborated a lot on her outfits for the film, and she wanted a big say in the shoulder pads, which I think is maybe the best thing I've ever heard. How involved were the other actors in their wardrobe choices?

[Molly Rogers]

Everyone? I'll tell you, it's been my experience in my career and in fitting rooms, if an actor is collaborative and there's a healthy change of. And no one feels afraid to offer an idea or no one feels timid to try it. You make a better outfit and you make a better movie, and everyone's like that. Meryl gave was so generous with her time, of which she has none. And she kept coming back again and again, just honing things, honing the length of something, or was it the right ear? You know, just giving us time, which is what you don't really have. And Annie Hathaway had many, many references that she wanted to share with my department. And, you know, when Annie did the first movie, they were all babies, Emily and Annie. And Annie had never worn a high heel. She had not worn high heels in the Princess Diaries. And she Told us, I have never worn a shoe like this. She was an innocent. So she came to the second one extremely knowledgeable, and it was helpful because you can make a fashion reference and she knows exactly what you're talking about. And Emily, I mean, she's a national treasure. She has such an instinct. I had really wanted to put this porcupine needle Rick Owen gown on her in one of the scenes where there's a birthday party and she bravely tried it on, and then we proceeded to scratch her to death getting it off of her. But it looked incredible. If I could have figured out a way to not make her bleed, that gown would have been in the movie.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

The ultimate fashion is art.

[Molly Rogers]

What is there if there's not pain?

[Chloe Mal]

The run through will be back in a moment.

[Nicole Phelps]

Hi, I'm Rebecca Ford.

[Molly Rogers]

And I'm John Ross.

[Nicole Phelps]

And we're the hosts of Little Gold Men, Vanity Fair's podcast for film, TV and awards lovers.

[Molly Rogers]

And just because the Oscars are done

[Nicole Phelps]

for now doesn't mean we are. Join us every week for coverage of the biggest stories in Hollywood, interviews with today's brightest stars, and so much more.

[Molly Rogers]

Listen to Little Gold Men every Thursday,

[Nicole Phelps]

wherever you get your podcasts.

[Molly Rogers]

And we're back.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Love that the cerulean blue jumper made a DIY comeback. Such a nice nod to the first film. In what context did you imagine Andy wielding a pair of scissors to make it her own?

[Molly Rogers]

When I read the script and I closed the, you know, fade to black, closed the last page, I knew immediately if that sweater still existed. It needed to come back into this movie like that is a no brainer. And I spoke to the director about it, and it was the first phone call I made to the archives out at the studio. Who, you know, stuff disappears. You know, that's the thing. You finish a movie, all of the clothes go to the lot where other productions can rent them. And it was only recently, you know, that people really started hanging onto things, or studios did, because they saw the value or the beloved aspect of a piece of clothing. So I called. There were three pieces in storage. They could not find Stanley's ring. Props had to recreate that. And they had the sweater, and it still had the corn chowder stain on it. So we just searched and searched and searched until we found one very close, very close. And they said, we can fix the color in the editing room. And I said to Annie, you know those pajamas that have holes at the elbows or you've just worn it to death and your friends won't let you Wear it out in public, but you're not throwing it away. I said, we need to do something to this sweater. And so I went to get the tailor. And while I was leaving the room. I heard snip, snip.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Amazing.

[Molly Rogers]

And she had grabbed scissors and chopped the sleeves off. And that's what I had wanted to do, but. But she had just done it without marking. It was. So do it yourself. But I liked it because it continued. This feminine menswear. That I was trying to sneak into some of her clothing. Cause it was a vest.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

I mean, we also love the amount of ties that are in the film. On Annie, in particular. Tell us about the tie moments.

[Molly Rogers]

I hope that there's not too many. You know, Pat's original inspiration. Way off in the corner of the room for Andrea Sachs, was Annie Hall. And that is such a strong silhouette, if you're old enough to know.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Totally explains the waistcoats as well, right?

[Molly Rogers]

Yeah. And I just. I love ties on women. And, you know, Andrea Sachs is a reporter. And there was this image that kept coming up in my mind. Of old newsrooms. Where the guys have the rolled up and the cigars. And I just kept thinking, we need to really explore vests and ties and suspenders and whatever we can. To just hopefully not knock you over the head with it. But that it's a part of her closet that's organic. She would go for.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

I like the nods to thrifting as well. Like Andy's Margiela blazer. Her assistant's Galliano dress. Why was that important to you?

[Molly Rogers]

They felt it was important to add some dialogue. Giving a little hint to that. She's well traveled on her reporting gigs. And so she would stop in a city where she was doing a story. And roam around and see what was at resale shops. And I think they wanted to not explain that. But just to give it a little throwaway line. That she wasn't steeped in fashion. And might not know what the current IT Bag was. Because she's a serious reporter. But she had a takeaway from the first experience at Runway.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

And can you tell me about Miranda's Insane Dries tassel jacket? I like the little shoulder wiggle she gives to get her in the dress.

[Molly Rogers]

I was furious that that was in the trailer they give away so much of. Not locations, necessarily, but clothing. It's like, save it. Save it. I was devastated when I saw that little tassel shake. The tassel jacket was one of the first things I saw. That I thought had a chance on Miranda Priestley. In the second movie. And I earmarked it and I showed it to Meryl, and she responded immediately. She saw it as over the top, and I saw it as a rarefied piece that an editor would have. Then it became apparent that there was an actual scene for it when she goes to meet this huge table of, let's say, corporate banker types, and they're all in their dark pinstripe, and she is there in what I consider to be the thigh high Chanel boot. A tassel jacket. I mean, what a piece to have amongst all these pencil pushers. I thought it was a great place for it there. And I was amazed at what she did in the elevator. I love it. I hope people enjoy it. The studio was very, very nervous about that.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Wow.

[Molly Rogers]

As they were in the first movie, they were super nervous about her white. Ha.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

That's crazy.

[Molly Rogers]

They had no fashion reference who we were nodding to. Polly Mellon or Carmen, that famous model. And so they see it and they don't understand it. So the tassel jacket was hotly debated. And I warned Meryl, and she was like, we'll see about that. So we tested it. We camera tested it. And she was like, no, they're gonna pry it from my dead fingers. It's gotta be in the movie.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Go on, Meryl.

[Molly Rogers]

I wonder how the sales are for it.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

I mean, I bet they're thrilled.

[Molly Rogers]

I love tassels. I love them.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Did you have any say on the script? And thinking also about the rodeo bowtie moment in the meeting. Did that come from you guys, or was it a script writer decision?

[Molly Rogers]

You know, those conference room scenes in the movie are like a coffee shop in Sex and the City. A lot of storytelling needs to be told, you know? And that day we were shooting a scene, and I was in love with these ties from a girl here in London. I thought they were so unique. And there were beautiful ones, green ones, small ones, you know, just beautifully embroidered and glittered and sparkled and rhinestoned and just the perfect. If you don't want a pussy bow blouse, you could put that there. And I had pulled them for Mr. Tucci. And he was like, oh, I'm. You'll never get me in that. And I knew that it wasn't really his character to do that. It's a little too far flung. But I had them on my desk on a tray, and I knew they were calling the actors to a big conference scene. And I went to Meryl and I said, I have a great tray if you want to pick anything up in this scene. And she did probably ad libbed that. And they're in. So at least I got them in.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

You got them in.

[Molly Rogers]

And I got one of this designer's butterfly chokers in another scene. People will see it. It's at a dinner.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

There's so many fashion montage moments. Tell me how many outfits you pulled for seasons.

[Molly Rogers]

Oh, my gosh.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

In which Andy walks across the road with a spring in her step, a heeled boot on.

[Molly Rogers]

Honestly, montages, as much as I love them, they create chaos, despair, depression. In my department, you want the very best. It's such a. It's less than a second, some of those flashes, and you need, like, something strong. And I was sitting at the Fendi show in Milan, and they had a lot of blue, and I knew something from that show had to happen in one of these montages. It was just so striking. And Annie wears a Fendi spring look in one of them. Very, very fast. But the other problem, although I love them, they're not on the shooting schedule usually. It's always at the bottom of the call sheet saying if time permits. So you're like at the starting gate of a horse race. You don't know if it's gonna happen today. You may be waiting on a shoe from Chanel that may not be there the day that you. You kind of style it on the fly. You have these massive amounts of clothes for each of the characters, and then they're like, we're gonna have time today. We're gonna have enough sunlight. Or, this is perfect. We're gonna use a corner of that restaurant, and you just art direct it on the fly, and you pin it or glue it on them because it's so fast, you don't have to tailor it. But everything. When I art direct scenes like that, I always go off of what Meryl's wearing. She determines what color or print someone else is gonna be in.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Do the big party and fashion show moments. Give your team similar ptsd. What does it take to pull that many extra costumes together?

[Molly Rogers]

No, that you usually have time to prep. It's not on the fly. You know, you, of course, have the generosity of everyone in the fashion world, and you usually know ahead of time what cameos are coming in. And that is usually an organized confusion. Yeah, it's fun.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

The question we all want to know, did anyone steal anything from set? Was it Stanley Tucci?

[Molly Rogers]

I don't think they would admit to it, but I don't think so. I don't think. I don't remember. Meryl asked for something as she was leaving. I don't remember what it was. Annie? Emily. No, they didn't take anything. There was something I wanted really bad and I forgot that I wanted it. And now it's in the nether regions of Italy somewhere.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

What was it?

[Molly Rogers]

I am in love with the jeweled encrusted tops of Mary McFadden gowns. And I like to hack off the bottom half and wear the top half. Make it into like a jean jacket. And I had found one on the Upper east side that was actually a proper jacket. And it was stunning. And I forgot that I wanted it.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

It's hopefully.

[Molly Rogers]

And it stayed in Italy and is in some storage, you know, it's hopefully

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

making its way back to you after this.

[Molly Rogers]

I hope so.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Is there a piece of clothing that you wish could have made it into the film, but you couldn't get in?

[Molly Rogers]

I hate you for asking that. One of my favorite outfits did not make it into the movie.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Tell us about.

[Molly Rogers]

Broke my heart. And they warned me before I went to see a cut of the movie. They were like, okay, sit down. Don't hurt us. This did not make the movie. But when that happens, and it does to every department, you follow. You kill your darlings, is the saying, right? It happens for a reason. And the sequence that this particular garment was in was on Emily Blunt. And it made the movie too long. And it was the opening sequence of the movie. And it just. To make sense, it went on too long. And who wants the slow start to that movie, you know?

[Chloe Mal]

Can you tell us about that?

[Molly Rogers]

It was intercut with Miranda and Nigel on the red carpet in her red. And this was custom made by J.W. anderson for Dior. He had just stepped foot into that door. And because we were shooting a big scene at the Dior flagship store in New York on 57th street, we got access to Jonathan and his team. And I needed a gown for her. And I wasn't really concerned. I knew that he had just landed there and it would be his fresh take and maybe what he was thinking about for his first show. So that was really exciting. And it was super top secret when we would talk to that team. But. But I was concerned because sometimes when I think of Dior, I think of Charlotte and Bowes. But then when I dug a little deeper, I think of harnesses, I think of berets, and it's Emily's lane. So he just carried that through with this gown that was black satin and lace, and it moved insane. And with her red hair. And I had dressed her two Assistants on either side of her in these Richard Quinn feather balls, kind of black balls. They looked like three cockroaches running through a New York hallway. The crew was going wild for these outfits. So I knew if the crew who've seen everything react, it's a keeper and a good one. So, yeah, that'll be on some show where it's like, what didn't make it in.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Before we let you go, can you share any other nice anecdotes in the many, many, many fittings you've been in?

[Molly Rogers]

I will say that Meryl Streep is the most generous person I have ever worked with. My whole department, we worship her. I don't know if that's said enough in other costume departments about her. And Sarah Jessica Parker is a rare bird. She will try on everything until her elbows are raw from pulling stuff over her head. She is a curious person. Other actresses, some of them go, oh, that color. It never works on me. Or, that's not gonna look good on my ass. She will try it on whether it's flammable. No matter where it's from. She wants to know. She wants to know that she eliminated it for a reason, because it was brought into the room for a reason by someone. Someone saw something in it and they wanted to show it to her and present it to her. That is abnormal. Abnormally wonderful.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

How was it styling? The new gen fashion assistants in the film, like Simone, Ashley and Caleb Heron, did you have a lot of fun?

[Molly Rogers]

I did. Simone was also a process, which it, you know, you just don't walk in the room and slide something on and everybody goes, oh, you're a genius. We found it. She's young, she's beautiful. My concern is that she would most likely always be behind Miranda's shoulder in a scene. I had thought, without having seen her, I had thought that we needed to do her very. What I consider to be a Vogue girl. Posh Carolyn Bessette Kennedy very. I'm in the row. I'm in this, I'm in that. It's a blank canvas. I can be anything, but. It's moneyed. I tried that on her. She was written to be in all Tom Brown. And I was like, don't do that. You're gonna be sorry in 10 years. It's wonderful, but we need to be able. We need the liberty to mix things and give characters layers and depth. So I went back to pieces of Thom Browne and younger, younger things. And there's a manse dress. I think that I found out that Taylor Swift had worn. But yeah, it was a process with her. But new cast members are great. You get to explore what's happening now, especially Annie's assistant, Helen. I think her name is Jen. In the movie, she's cute. She is the smart one, just like Annie was. It's like she's there for a great purpose and we just love doing her in vintage.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

And lastly, we have to talk about the show stopping Pierre Paolo red look that Meryl wears.

[Molly Rogers]

I cannot believe it turned out to be them. It was just so organic and just was supposed to be. When we found out there was a Runway gala at the beginning of the movie, the first words out of Meryl and I's mouth when we had lunch was, there is no other color. The devil comes back in red. Okay. Don't even think about something else. Although we did try on tons of things, but it was always gonna be red. On her mood board, some assistants had placed a lot of photos and there was an archival Balenciaga dress or gown and it had a feather hat and the neck of it just looked like the most incredible frame for a white shocking hairdo. And so we called them and he was also just landed from Valentino. Just landed just like jw. And we just implored them, get up to running. We need you. And they flew over twice to New York and fit her. She is the one that had the idea to make one sleeve long and the other sleeve not, which is that little twist that a refined fashion person would find something to do of their own to make it personal. And that color, the swatches they sent, I mean the reds. Oh my gosh.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

She looks phenomenal.

[Molly Rogers]

Beautiful. I loved it. And she wanted something that was malleable, you know, she is a greatly a contributor in a welcome contributor in fittings.

[Interviewer (possibly a Vanity Fair or Vogue journalist)]

Molly, thanks so much for coming on the show today.

[Molly Rogers]

Thank you. I enjoyed it.

[Chloe Mal]

Good. All right, that's it for the show.

[Molly Rogers]

See you next week.

[Chloe Mal]

The run through is produced by Chelsea Daniel, Alex DePalma and Alex John Burns, with help from Emily Elias. This episode is engineered by Pran Bandy and Luke Mosley and mixed by Pran Bandy.

[Molly Rogers]

If group chats had a podcast, it would sound exactly like this. Unfiltered beauty secrets, wellness trends we actually try. And the kind of real talk you

[Nicole Phelps]

won't find on Instagram or anywhere else. From celeb confessions to life's messy moments.

[Molly Rogers]

Nothing's off limits.

[Nicole Phelps]

I'm Molly Sims, founder, actress, model, producer, and now your text or audio bff. And I'm Emma Shaw Gormley we're in this together. Ladies, join us every week for Lipstick

[Chloe Mal]

on the rim

[Molly Rogers]

from prx.