When not in her Midtown office, Miranda Priestly retreats to her Upper East Side townhouse, a study in polished restraint. As Jess Gonchor notes, the production was able to revisit the same property, preserving the details that define it: the gallery-like entrance, spiral staircase, and subtle touches of cerulean woven through a palette of marble and limestone. There is also a fleeting glimpse of a summer retreat in the Hamptons, which expands Miranda’s world beyond. city With equal measure of discretion and luxury.
For Andy Sachs, the shift is more pronounced. Midway through the film, he moves into a new apartment that signals a different phase altogether, with generosity BedroomAn open-plan kitchen and wall of windows bring in a sense of light and possibility. It’s a setting that mirrors his upward trajectory, and, as it happens, introduces a romantic subplot with the building’s contractor, played by Patrick Bramall.
For the international chapter of the film, the setting changes Paris from ItalyBrings a different feel to the atmosphere. As Jess Gonchor explains, key scenes were filmed throughout Milan, including moments set against the backdrop of the Dolce & Gabbana show as well as lakeside splendor. Villa Balbiano on Lake Como. One of the more complex sequences, the intimate dinner held in Santa Maria delle Grazie, required a carefully constructed replica. A team of Italian scenic painters, led by an expert working on opera backdrops in Rome, recreated the setting on a local soundstage at roughly three-quarters the scale of the original, capturing its atmosphere with remarkable precision.
A runway fashion show unfolds in the grand hall Brera Academywhere a local team accustomed to creating Milan’s catwalks spent several days building the set. Earlier plans to stage the scene in front of the Duomo were eventually shelved, with the production opting for a more secluded setting that allowed for greater control and discretion. For all its scale and ambition, the production itself has a remarkably pleasing energy. Gonchor recalls a sense of ease on set, with the cast and crew settling into a shared rhythm during filming. The off-camera moments were as animated as the on-screen ones, giving the project a rare sense of concentration and fun that, he notes, isn’t always guaranteed.
