Designing costumes for a musical like The Devil Wears Prada comes with immense pressure. But for Gregg Barnes, the costume designer behind the West End hit, the challenge of “getting it right” was an exciting one. With fashion being such a central element of the story, Barnes had to navigate the delicate balance between accurately reflecting the 2005 time period while avoiding a documentary-like portrayal of style from that year.
“When you’re designing costumes for a show that is set in the modern day, and fashion is such a key part of the narrative, there’s a lot of pressure,” explains Barnes. “But what ‘getting it right’ means is difficult to define. We’re not making a historical record. We’re reinventing it, celebrating the fashion while also making it feel timeless.”
The musical is set in 2005, but Barnes was careful not to let the costumes become a dated reflection of that year. Drawing inspiration from a wide array of editorial photos and fashion shows from the early Noughties, the designer aimed to create outfits that wouldn’t make the audience think, “weren’t we wacky in 2005?”
“The goal was for the audience to want to wear everything they see on stage, without any hint of cringe,” says Barnes. “We wanted to capture the style and elegance of that era, but in a way that would still resonate today.”
Barnes acknowledges the brilliance of Patricia Fields, who designed the iconic costumes for the Devil Wears Prada film. “When I was working on Legally Blonde on Broadway, the Devil Wears Prada film came out, and it had a huge impact on me. Fields’ work was incredible, but I didn’t want to simply replicate it for the musical. We’re telling the same story, but we’ve given it a different heartbeat, thanks to Elton John’s score, Shania Taub’s lyrics, and Kate Wetherhead’s book.”
Despite this reinvention, Barnes still included a nod to the film’s famous cerulean sweater. “That cerulean sweater is a bit of a Valentine to the hardcore fans,” he explains. “It’s a direct homage to the film, and I’m glad we could include that iconic piece.”
One of the standout elements of the costumes in the musical is the use of high-end designer clothing. Barnes deliberately chose to use as much authentic designer fashion as possible to ensure the costumes felt truly connected to the world of fashion. “If it looks like Versace, it is,” says Barnes, listing off names like Alexander McQueen, Balmain, and Prada as some of the key designers whose work was featured on stage.
For Miranda Priestly’s wardrobe, Barnes collaborated with designer Pamella Roland to create custom pieces for Vanessa Williams, who plays the character. Williams also wears items from Tom Ford, Akris, Chanel, and, of course, Prada. Barnes also received generous support from other designers like Terry De Havilland and Karen Millen, who opened their archives to the production.
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“The hardest costume to create was for Andy Sachs,” Barnes admits. “Her character has the greatest story arc, and we had to visually represent her transformation through the wardrobe. We were fortunate to work with Georgie Buckland, who plays Andy. She brought so much to the table, from her angelic voice to her fantastic sense of style, which helped guide us through the design process.”
Despite the challenges, Barnes remains largely unfazed by the criticism that often comes with any high-profile production. “I’m not obsessed with reviews,” he says. “Sure, I read a few to get a sense of how our work has landed, but what matters most is how the cast feels in the costumes and how my industry colleagues respond. There have been so many positive comments about the design, and that means the world to me.”
However, one recent criticism from a review, which labelled the costumes worn by the female ensemble in the opening number as “faux Chanel,” didn’t phase him. “I never said they were Chanel,” he responds. “The lyric doesn’t mention Chanel, and I know very few young women who can afford that label. My thoughts on the criticism? NEXT.”
For Barnes, the most important thing is that the costumes bring the characters to life and fit the narrative. And with The Devil Wears Prada continuing to captivate audiences in the West End, it’s clear he has succeeded in his goal.
