20 years later and as vibrant as the first!
We asked Set Decorator Stephanie Bowen SDSA to tell us about a few key aspects...
We know you’ll enjoy what she shares!
--KB, Editor
Collaborating with Production Designer Jess Gonchor, Director David Frankel, and her team...
“Jess Gonchor and I were introduced by a mutual friend, talented scenic artist Alex Gorodetsky. I have known Alex for almost twenty years, since my interior design days. He had worked with Jess on the first film, and confirmed the rumor that a sequel was in the works. Alex knew they were looking for a set decorator and said he would pass my name along. At the time, I was busy working on another job, but I instinctively knew how exciting it would be to work on this beloved and iconic film. Ultimately and luckily, the timing worked out and I was able to join this stellar team.”
“We had about 10 weeks in NYC to prep this job before filming. Jess is a great collaborator and always open to new ideas. He had clearly been thinking about RUNWAY magazine and the changes he would like to make this time around, yet was willing to entertain other thoughts, as well. I realized early on that Director David Frankel had complete trust in Jess, so we were very quickly on our way to a build.”
RUNWAY magazine, today...
“Jess’s perception was brilliant, and it was fun to come up with some aspects that enhanced it. We referenced the Conde Nast Offices, specifically the VOGUE office, for details, but we also felt the freedom to make RUNWAY our own.”
“I adored the first film and am in awe that it has stood the test of time. Jess and I agreed that our RUNWAY set should feel reminiscent of the original, but it was also clear that we were evolving into a more contemporary, fashion-forward aesthetic reflecting current times.”
A wall of RUNWAY covers offers a backdrop to upholstered cubbies, meant for semi-privacy or 1-on-1 meets, formerly known as a tête-à-tête...the racks of high fashion clothing are ubiquitous in this setting! Photo by Macall Polay © 2026 20th Century Studios. All Rights Reserved.
“To modernize the set, we made it larger...many times larger...and warmer, with softer lighting and oak flooring. It was more open and expanded, layered with fashionable textiles and clothing. There were some visual nods to the digital age and the complexities it has brought into the publishing world.”
The RUNWAY bullpen was expanded with long tables serving as multiple workspaces, and state of the art desk furnishings, all in a airy palette of whites and beiges, with individual pops of color. Photo by Macall Polay © 2026 20th Century Studios. All Rights Reserved.
RUNWAY’s Fashion Closet...
“The fashion closet was fun for all and a great callback to the original. David wanted this version to feel like an atelier, so we decided upon a classic floral wallpaper from Astek, used antique Murano sconces from Newel, and found the perfect floral pouf and antique mirror from John Derian. Costume Designer Molly Rogers and her team graciously loaned us some of their best Designer clothing and handbags, including some iconic vintage pieces. It was a feast for the eyes. And I think the whole team left with a better understanding of the fashion world and the artistry of these coveted brands.”
Editor’s note: We only have a peek at a stuffed-full corner of the closet...you can catch a glimpse of a Murano sconce and below it, the wallpaper reflected in the antique mirror behind Nigel/Stanley, but you really must see the film!
RUNWAY’s Fashion Closet. A vault of vintage high fashion, many of these are actual incredibly valuable pieces loaned for this set. In a nod to the first film, Stanley Tucci as Nigel Kipling and Anne Hathaway as Andy Sachs search for the perfect ensemble for her to wear to the gala in Milan.
Photo by Macall Polay © 2026 20th Century Studios. All Rights Reserved.
Favorite set...
“Well, of course, it's always hard to choose a favorite, but if I must, I would say Miranda's office on our RUNWAY set. I was certainly inspired by Anna Wintour's VOGUE office, with its brilliant mix of Gustavian antiques, books, art and fashion photography...all juxtaposed against a corporate Manhattan office. Miraculously, we were able to unearth the art department files from 20 years ago and license some of the original art from the first film! This was exciting for us as we knew the fans would take notice.”
Miranda’s office nook. A couple of decades have passed, and everyone has changed, at least to some extent. Miranda still has and shows impeccable taste. Slightly softened, this hideaway part of her office. Photo by Macall Polay © 2026 20th Century Studios. All Rights Reserved.
“There were Easter Eggs throughout the film. We used the original RUNWAY posters and several pieces of art and photography that were seen in the first film. We also enlarged a photograph of Nigel directing a RUNWAY model photoshoot, and hung it in the reception area.” [See image at top of page]
“We decided Miranda would have the same desk chair, bar cart and octagonal mirror seen in the first. And placement of Miranda's assistants’ desks just outside her office, as before, was carefully considered and key for blocking.”
Miranda's Neo-Italian Renaissance Manhattan Townhouse...
“After much uncertainty, we found out that we were able to return to Miranda's original Manhattan townhouse that featured the iconic Miranda/Andy stairwell scene. Much to my surprise, the window treatments, blue carpet runner and wallpaper were still intact. Aside from that, the townhouse was empty, having a new homeowner who lived outside of the states.”
“I felt it was important to capture the spirit of Miranda's townhouse seen in the original film, but was excited to make it our own. From the first film, I remembered those distinctive blue rugs, so I decided early on that our palette would be shades of blue. We were also able to license the Wayne Thiebaud painting, Downhill Cross Streets, that was seen in the original.”
“It was a major set dressing job, with a kitchen, living room, and an upstairs library with over 200-linear-feet of books. Every detail was carefully considered. I'm so thankful to my team, especially Assistant Set Decorator Marina Parker, who worked on this set and was with me every step of the way.”
Miranda's Hamptons House...
“We wanted this set to be bright and full of life. It was a place where Miranda let her guard down. We layered it with beautiful antiques, textiles, art and books. My thanks go to Assistant Set Decorator Sarah Dennis for minding the details, and helping source several Hugo Guiness paintings, vintage maps, and the perfect speckled enamelware for the outdoor party.”
Miranda’s Hamptons House. The blue palette has become a Miranda signature, always with the utmost taste and not overused, perfect for a beachside estate. Photo by Macall Polay © 2026 20th Century Studios. All Rights Reserved.
Miranda’s Hamptons House. The enticing kitchen exudes a comfort, an openness that we would not have seen in decades past. Photo by Macall Polay © 2026 20th Century Studios. All Rights Reserved.
And in another part of the world, the Palazzo Parigi in the fashion capital of Italy...Milan...
“A few days into filming it was decided that we would film the Milan hotel interiors in New York and the exteriors in Milan. We realized the only way to do this successfully was to keep pushing the palette forward with bold color choices and sculptural furniture. It's not easy doing NY for Milan, so I'm thankful to Jennifer Olshin at Friedman Benda for introducing us to the artists, Chris Schankck and Barbara Zilinksatie, Enrico Marone Cinazano...and, of course, Misha Kahn's, fabulous over-the-top sofa and mirror and other work. Also, full thanks to Alyssa Wynter who assisted with this set and oversaw all the custom upholstery and window treatments.”
Lily’s Apartment...
“Andy’s best friend, Lily, has remained so over the decades. She’s an art dealer, and a mother. We wanted her space to feel warm and collected, a place where Andy felt at ease. Assistant Set Decorator Jamie Moore found the perfect red sofa...The Kelvin from Giancarlo Valle.”
Lily’s Apartment. “We worked with Fanny Pereire to curate an art collection for Lily’s gallery and home. We licensed several Amy Sherald paintings, and were thrilled to use the amazing Misha Kahn tapestry, ‘The Slippery Feel of Inevitability’ and sculptures, as well as a chair from Estudio Campana.” Photo by Macall Polay © 2026 20th Century Studios. All Rights Reserved.
Editor’s note: There were numerous other key sets, including Andy’s new condo and a famous figure’s sprawling estate...many reasons to see the film, these included!
For now, Stephanie concludes with:
“Thank you to my extraordinary set dec team who had their hand in all of the details:
Sarah Dennis, Jamie Moore, Marina Parker, Alyssa Wynter, and Chris Nelson, Leadman.”
