Jacqueline Carlyle con Jane Sloan in una scena di The Bold Type

Fashion editor in career, in movies and TV series: why do they dress the way they dress?

Fashion editors, magazines and looks, a potentially disruptive encounter that can contain traces of elements highly harmful to the mental health of anyone who comes into contact with it. At the cinema and on TV as well as – perhaps – in reality.

Show business has always painted career women in the fashion world – the only voice out of the chorus is that of Jacqueline in The Bold Type, a Netflix series whose fourth season has just been released– as hysterical, fickle and willing to do anything to get to the upper floors. Harpies rigorously covered with fur coats second skin or aspirants Cruel DeMon belted in tight-fitting clothes or, alternatively, by Miss Rottermeier, the dress becomes a trick artfully built to emphasize the vices (very few virtues) of the terrible fashion editors of fiction.


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On the other hand, films like The devil wears Prada and TV series like Ugly Betty: magazine you go, customs you find. Which translated from the fashion to Italian it means: woe to antagonize your own editor-in-chief.

We have selected some of the outfits of fashion editor protagonists of recent fashion movies or television series, to analyze what and how much the look can actually say about them.

Andrea Sachs ne The devil wears Prada she wasn’t the only assistant who had to gild the coated pill animalblazer very stylish and dark goggles.

Jacqueline Carlyle with Jane Sloan in a scene from The Bold Type

Jonathan Wenk

Enid Frick in Sex and the City (1998)

Unjustly ended up in the cauldron of minor characters of Sex and the Citythe actress Candice Bergen plays the role of editor for Vogue whose task is to inform Carrie Bradshaw on which tones to adopt and which topics to deal with for an institutional magazine, which does not have the slightest intention of getting lost in chatter.

If the fashion editor is blonde, in a cast in a uniform made of White shirt, gray skirt e Pearl necklaceis perhaps an omen of doom.

Not that the situation changes for the better when she lets herself go to more casual looks, perhaps with bright colors e floral prints. Facial mimicry never lies: the piece has to be rethought and redone. You know something Carrie.

Enid Frick in a scene from Sex and the city

Miranda Priestly ne The devil wears Prada (2006)

Contrary to what the name of the 2006 cult film might suggest, the editor-in-chief of Runway – interpreted by none other than by Meryl Streep – does not need to wear designer looks Prada to intimidate his assistants.

In fact, she mostly wears outfits by Donna Karan and always maintains an icy tone, even when making forays into the realm ofanimal or glamor. more pushed The devil’s uniform is in fact made up of occhiali oversize, pinstripe suits dark ed eco-fur over.

And he knows how to dose with evil mastery accessories come earrings, necklaces e belts in life with the same nonchalance with which it will hint that it is all so terribly wrong. The harbinger of an imminent catastrophe can be deduced from the number of sequins, the color of the dress (beware of purple!) And the movement of the eyes.

Miranda Priestly in a scene from The devil wears Prada

Wilhelmina Slater in Ugly Betty (2006)

Conspiracy theorist and manipulator to the core, Wilhelmina Slater – played by the American actress, singer and former model Vanessa L. Williams – takes the coveted position of editor in chief in the third season of the ABC series Ugly Betty.

Wilhelmina is the portrait of fashion victim who can’t help but have the latest piece of the season in their hands. He can’t give up on goldat sequinsat necklinesai little white dresses super adherent, toanimal in all its forms and, of course, al botox. Glamor and sexyness are her daily bread, the weapons with which she terrifies the editorial staff of Mode. Surviving, in this case, is all a matter of tactics: making friends with her aesthetic doctor would have been a decidedly winning move for Betty.

Wilhelmina Slater in a scene from Ugly Betty

Patrick Harbron

Jacqueline Carlyle in The Bold Type (2017)

Jacqueline Carlyle is the editor-in-chief of the magazine Scarlet – weekly inspired by the magazine’s imagery Cosmopolitan – in the US television series The Bold Type.

Bold, empathetic and free of hysteria, theeditor-in-chief from Scarlet he knows how to manage and, at the same time, inspire his employees.

L’attitude as a leader translates into a game of mix and match which wisely mixes comfy with glamor, formal with informal, minimalism with maximalism and vintage with the contemporary. And so you will see Jacqueline navigating between one meeting and another now in soft blouse from Armani, Givenchy o Victoria Beckhamnow in sophisticated blazers signed Haider Ackermann.

Or intent on explaining to its editors how to get out of the comfort zone with a vest DSquared2 o Dries Van Noten and sparkle at Manhattan’s most glamorous events in metallic dresses.

And, even wearing a signature safari look Fendi, Jacqueline she will always be ready to embrace the challenges on the agenda for those who, like her, are in charge of a magazine. Defending one’s visions by making the best of everyone without conspiracies, hysteria and delusions of protagonism is absolutely one of these.

Jacqueline Carlyle with Jane Sloan in a scene from The Bold Type

Jonathan Wenk

Rita Pasini in Made in Italy (2019)

Margherita Buy interpreta Rita Pasinithe editor-in-chief of the magazine Appeal in the television series Made in Italy. Inspired by Adriana Mulassanofashion journalist for years at Corriere della SeraRita prefers the striped shirtsle ribs and the velvet all’animal more or less cheeky than American colleagues.

And so, with an avowedly anti-glamor manifesto, Rita adopts the motto promoted by Mulassano herself: «It’s not the little black dress that looks good on everyone, it’s the brain. Wear it! », She recites.

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Stereotype cinematic or real, the slightly hysterical fashion editor-in-chief qualifies as a cliché able to still break through the hearts and minds of spectators of different generations. Because, assuming that the dress does not make the monk, we think that fashion still remains an irreproachable teacher of life. That’s all, as Miranda would say.

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