Anne Hathaway, now much more fashionable and worldly than in the last movie where Anne hathaway works for a fashion company, has a new job with a new awful and manipulative boss. She also still has her boyfriend she may or may not have had/gotten during The Devil Wears Prada.
Anne’s new daily schedule consists of wrangling models, going to hair and makeup to see if they have the right color palettes, taking calls about fabric swatches, swearing various fashion magazines to secrecy, and other things that she is no longer abjectly terrified of doing. Her boss hates her, but has bribed her with a raise if she would be willing to walk the runway in fall. Anne declines, and this sets the tone for their professional relationship.
Her boss doesn’t appreciate her or her lack of dedication to the whole “being trendy” thing. Anne Hathaway, playing Andrea again, is reminded of her time working at Vogue. Now, as a fashion designer’s assistant instead of a fashion editor’s assistant, Andrea/Anne has to learn about the small details that magazines leave out. Detailing, sequin placement, hemming, and how to generally make couture gowns are all a part of this wacky comedy.
This movie, carried by the gradual romantic subplot between Andrea and one of her former co-workers after Andrea drops her boyfriend, is not a box office hit. It’s something that gets popular in the same crowd as movies like But I’m a Cheerleader and Carol. There are dozens of quotable one-liners like, “That’s not what a nip/tuck means, babe,” and, “I’m sure you’ll get there potentially.”
Eventually Andrea/Anne’s relationship with Emily is strained enough for a knock-down, drag-out screaming match. Emily wants Andrea to share trade secrets with her for the benefit of Vogue, but Andrea really wants to keep her terrible job. She’s serious this time. She doesn’t need any more upwards mobility.
They break up. They get back together again.
Everyone is happy.