You worked on the original Devil Wears Prada. What did it feel like stepping back into this world 20 years later?
It felt a bit like déjà vu at times, but mostly it was like seeing a dear friend you haven’t seen in 20 years and picking up right where you left off, we were all able to seamlessly step back into this world as if we had experienced the last 20 years together.
Were there any specific beauty references or inspirations guiding the sequel?
My general reference was clean, dewy makeup that still allows room for expression. I wasn’t interested in chasing what’s trendy so much as using makeup to reveal character, similar to how I approached the first film. The goal was to create looks that felt fresh and natural while highlighting each character’s personality rather than conforming to any particular beauty standard.
You’ve described the sequel’s beauty direction as “glowy, clean skin.” How did you achieve that on camera?
I focused on using great skincare routines, which meant relying far less on foundation and concealer. It’s always been important to me to let the camera see real skin rather than covering it up. Today’s cameras are so sophisticated—they pick up every detail—so the key is to keep things minimal. When it comes to skin, less, or more sheer makeup, is definitely more. It also aligns with today’s more conscious approach to beauty, where we’re mindful of the environment and of what we put in and on our bodies.
How did Andy’s (Anne Hathaway) look evolve in this chapter of her life?
Andy’s look is entirely her own, learning from her experience at Runway 20 years ago to becoming a respected journalist, now more secure and grown up. She doesn’t really follow trends—beauty/fashion trends aren’t her priority at all—but she does enjoy experimenting when she feels like it. I wanted to give her a subtle hint of rebellion in her makeup, something with a touch of 1920s and pre‑punk influence. It’s a look that suits her so well and was easy to weave into all the different styles she has throughout the film.
Meryl Streep’s Miranda Priestly is such an iconic character visually. How did you approach her beauty look for the sequel?
It was a very deliberate decision by the filmmakers to keep her iconic look exactly the same, which makes perfect sense for her character. Miranda is who she is, and she hasn’t changed. Donald McInnes did an amazing job recreating her hair and makeup—originally designed by the great Roy Helland—for this sequel.
You’ve spoken about embracing the characters’ maturity. How did that philosophy shape your makeup choices?
Embracing the characters’ maturity meant celebrating beauty at every age. Beauty isn’t reserved for the young—mature faces carry just as much, if not more, character and elegance. I believe we should honor our fine lines and wrinkles the same way we value the knowledge and experience that come with age. So it was important not to cover, hide, or digitally erase those well‑earned lines. I wanted the film to show that we do age, and we are still beautiful. It’s really about taking good care of yourself and letting that confidence shine through.
What was the inspiration behind the ’80s-inspired disco party moment for Andy?
I always loved the idea of bold colors as statements sprinkled into a more subtle overall look. It makes the moment fun and playful—just like Andy’s character, and it fits the energy of that specific scene perfectly.
What were your must-have products on set this time around?
My must‑have products on this film were really great skincare and as much clean makeup as possible. For Anne, we loved Dr. Barbara Sturm products—her hyaluronic acid serum, calming serum, and moisturizer. Every morning we used 111SKIN Black Diamond eye masks paired with their Cryo De‑Puffing eye pads. Anne loved the By Terry Baume de Rose Liquid Lip Balm. On all cast in general for complexion, we used a lot of ILIA Super Serum Skin Tint, Lisa Eldridge Seamless Skin Tint, and Mineral Air airbrush makeup applied without an airbrush. My favorite product of all—and Andy’s signature lip—was Painterly by Lisa Eldridge. One product I heavily relied on but that sadly isn’t made anymore was Laura Mercier’s Secret Camouflage (if anyone knows something comparable, please let me know). Anastasia brow pens and pencil worked great, Victoria Beckham eye pencils held up beautifully, MAC blot powders we use on everyone as it is my favorite powder to cut unwanted shine without getting caky. Since the film was sponsored by L’Oreal we used a mix of everything from Dior to YSL to Armani makeup for all the fashion show/runway/photoshoot sequences.
What was the best part about returning to this film for you?
The best part for me was the sense of being genuinely valued. The film industry can be very competitive—new people come in, studios change, and everyone is looking for the newest, trendiest talent. That’s not necessarily a bad thing, but it often means experience and integrity aren’t always appreciated, much like how mature beauty isn’t always celebrated. I was incredibly flattered to be asked back. It meant a lot that Anne wanted to make sure I would be her makeup artist again, and that Wendy Finerman, our producer and director David Frankel chose to invite the entire original crew, and that everyone who was available returned—or made themselves available. It felt like a true family reunion. It was also a reunion of people who encourage, trust, and thrive on collaboration. That kind of environment brings out the best in everyone, and I think it really shows in the film.
Words: Shannon Levy
Photos: Courtesy of 20th Century Studios
