"On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss the reality-inflected elements of the new film, which finds Priestly and her team chasing clicks and catering to the whims of billionaires who might solve Runway's financial woes."
"It's the one time where, divorced from utility and other reasons, it's O.K. to just look at fashion. I tend to defend our opportunities to just look at things that provoke pleasure."
The sequel to The Devil Wears Prada presents a grittier vision of the fashion industry compared to the 2006 original. Miranda Priestly and her Runway team now navigate financial pressures by pursuing online clicks and seeking support from wealthy billionaires. This shift mirrors real industry changes toward digital-first strategies and reliance on ultra-wealthy patrons. The Met Gala exemplifies this dynamic, with billionaire sponsors like Jeff Bezos and his wife donating substantial sums for honorary positions. Despite these commercial pressures, fashion remains valuable as a space for aesthetic appreciation divorced from practical utility, offering viewers and enthusiasts opportunities to engage with visual pleasure and creative expression.
Read at The New Yorker
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