Fashion publications and PR agencies have been featured in countless films and TV shows – we rank them on how realistic they are
If, like me, you were practising some intense self-care just to survive 2020, then you probably swerved the chaos that was Emily in Paris. The Netflix show followed Lily Collins’ ditzy Emily around Paris as she scooped a job at a marketing agency – despite not speaking a lick of French or knowing anything about fashion, which, tbh, sounds about white!
Fans and hate-watchers of the show and its mind-bogglingly avant-basic fashions will be pleased to know that the show is returning for a second season later this year, with the promise that the protagonist will be less obnoxious this time around, which remains to be seen.
While the show is moreishly bad, it’s just one of many depictions of fashion behind-the-scenes in TV, with film racking up even more. But just how realistic are these versions of the fast-paced industry and its inner-workings? As a veteran who has served in fashion for seven years – and counting – and a certified TV connoisseur, there is nobody more qualified to pass judgement.
Here, we rank your fave fake fashion mags – from Ugly Betty’s MODE to 13 Going on 30’s Poise – on whether they’re the real deal or cheap knock-offs.
MODE, UGLY BETTY
Full disclosure: Ugly Betty is the reason I’m working in fashion today, so the show holds a special place in my heart. But, favouritism aside, MODE is probably the closest representation to a real fashion magazine that we’ve seen on film or television – and here’s why. Sure, there are plenty of perks that come with working in fashion, even when your foot is desperately clinging on to the lowermost rung, but clambering up is hard work and nobody endures more than Betty. Not only is she piled high with menial tasks, working what seems like every hour of the day, she’s also paid so little she has to live at home and commute into the city each day and faces merciless bullying from her colleagues without a whisper from HR. She’s a brilliant but unsung hero, endlessly saving the day with her ideas and quick thinking, and yet isn’t recognised for years. In fact, back in the day when the show first aired, MODE would have only lost points for realism by having a Black woman as creative director and a trans woman as co-editor-in-chief (as a Black, non-binary person, I wish I was joking). Here’s hoping it’ll be the new normal very soon.
Verdict: Couture straight out of the atelier, handcrafted with love and care.
RUNWAY, THE DEVIL WEARS PRADA
By now, we’re all familiar with the premise of The Devil Wears Prada, so let’s dive straight in. There’s a reason this is viewed as the fashion film, because it has it all. A steely editor-in-chief with a withering gaze that will melt the flesh off your face, a penchant for expecting the impossible, and a work ethic that is always dialled up to 200. Check. Skinny, bitchy employees. Check. Delusion. Check. Betrayal. Check. In fact, the only reason TDWP doesn’t take the top spot is the frankly unbelievable ending (yes, more unbelievable than the fact Andy manages to snag the unpublished Harry Potter manuscript). There’s nothing quite like a fashion editor scorned and unfortunately our protagonist would have more likely gotten a middle finger from Ms Priestly and her name burned in the industry over a glowing recommendation and a respectful nod. Sorry for ruining the uplifting ending xoxo.
Verdict: Prada that’s phresh out the runway, it’s legit but missing the cherry on top.
ELLA, ABSOLUTELY FABULOUS
Throughout Ab Fab, Patsy – Eurydice Colette Clytemnestra Dido Bathsheba Rabelais Patricia Cocteau Stone if you’re nasty – holds a variety of jobs at various fashion magazines, but it’s her run at Ella over the first three seasons that is the most accurate. She was given the job after sleeping with the publisher and rarely shows up (in “Magazine” she needs a map to even find her office). When she does show her face, all she does is “invent random adjectives for pointless clothing”. So, why does she even bother doing it, you might be wondering? Well, it’s for all the gorge freebies and 50 per cent discount at Harvey Nics of course, darling. If you’re ever been to fashion week or a party, you will have seen this character guzzling champagne, laughing raucously, and air kissing like their life depends on it.
Verdict: H&M x [insert designer name here] – it’s almost as good as the real deal, but just not quite there.
COMPOSURE, HOW TO LOSE A GUY IN 10 DAYS
In How to Lose a Guy…, we see our heroine Andie Anderson (Kate Hudson) struggling with becoming a serious! journalist! while working for a faux-Cosmo lifestyle magazine (they even used some of the same letters, how clever!). Instead, she’s made to write about silly girly things like shoes and boys (gross!). Her latest assignment – ‘How To Lose a Guy in 10 Days’ – sees her cross almost every ethical line possible, much to the glee of her editrix boss, who throws her under the bus with said guy (played by Matthew McConaughey). While Hudson’s portrayal of a magazine editor is questionable – even after reportedly shadowing Anna Wintour for a day to prepare for the role – without realising, Composure as a magazine is a pretty accurate representation and reminiscent of Cosmo EIC Helen Gurley Brown’s controversial era that brought in racy topics like sex.
Verdict: A Bang & Olufsen phone discovered in Oxfam. It wasn’t exactly what you were looking for, but it is the real deal.
POISE, 13 GOING ON 30
13 Going On 30 is totally unbelievable. No, not for the magic dust-emitting doll house that transports Jenna Rink (played by Jennifer Garner) 17 years in the future. No, not even the fact that Mark Ruffalo plays the movie’s love interest. The most unrealistic part is the fashion party that ends in a flashmob to Michael Jackson’s “Thriller”. However, what is realistic is the film’s villain, Lucy Wyman, who works alongside Garner at Poise. She’s competitive, cutthroat, and conniving, full of brilliantly mad one-liners like “It will go heroin chic one better… it will OD” and “Cause of death? Chicness.” Ultimately, she steals Jenna’s job as EIC at competitor Sparkle magazine, but even then you can’t hate her for it. If you thought working in fashion was holding hands and singing “Kumbaya”, you’re sadly mistaken – meanies like Lucy are ten-a-penny.
Verdict: A Balenciaga purse you snagged at Kempton Park Market. It’s a fake, doll.
SCARLET, THE BOLD TYPE
Launching back in 2017, The Bold Type is a series that follows in the footsteps of fellow magazine-based movies – revolving around a young group of women who work at Scarlet in New York. Though it’s inspired by the career of former Cosmopolitan EIC Joanna Coles (who is also executive producer), the show’s biggest misstep is that working at a fashion publication is just a jolly. In fact, the trio of characters – who are all junior – seem to spend more time gallivanting around the city finding themselves or popping champagne in the fashion cupboard than actually doing any work? As features writer for Scarlet, Jane seems to write approximately one article a month – which sadly in the real world would get a swift meeting with HR to discuss her performance. Similarly, Kat pursuing a story that her boss told her to drop is also a no-no. The show’s only saving grace is that working at a magazine is hard and without allies around you to keep your head afloat, you’re – as Heidi Klum would put it – out.
Verdict: Channel by Carl Largerfield – it’s just all wrong.
VOGUE.COM, GLEE
I’m sorry, I’m sorry, I know we have all collectively banished any remnant of Glee from our brains, but I had to remind you of the ham-handed attempt to integrate Sarah Jessica Parker into Kurt and Rachel’s NYC sub-plot in season four. Impressed with Kurt’s fashion (already a red flag) Parker plays Vogue.com exec Isabelle Wright and invites him to be her assistant. Not content with somehow scooping up a job that a million girls would kill for, Kurt and Rachel sneak into the office’s fashion cupboard at midnight to give the latter a makeover, but end up getting caught by the boss – seriously, when has a fashion exec ever been in the office that late? Rather than kicking them out, the trio break into song and the subsequent music video is used as part of a content relaunch strategy on which Kurt (now invited to all future pitch meetings) is fully credited on. ¿Qué?
Verdict: Kalvin Clein boxers – a total knock-off that is nowhere near the real deal and never will be.