Not quite 'The Devil Wears Prada': What it’s really like to work at a fashion magazine

But perhaps the most convincing inspiration of them all was Andy Sachs from The Devil Wears Prada. A journalism graduate with a passion for writing, Andy takes up a job as assistant to the formidable editor-in-chief of Runway magazine, Miranda Priestly. She wasn't in for the glamour, but it was exciting for her nonetheless. That excitement quickly fades, of course, once she finds herself in the throes of impossible demands, high-stakes fashion politics, countless late nights and last-minute miracles, and a formidable boss who communicates in quiet, cutting ultimatums. Yet despite that and the tension with her nemesis, first assistant Emily Charlton, her friendship with Nigel Kline helps her fit the role better, shaping her understanding of the industry in a new and different way. And thus the glamour begins to reveal itself through enviable designer closets, couture fittings, coveted invitations, Paris Fashion Week, and a front-row view into a world that feels as aspirational as it is exacting.

Like Andy, it was the writing that drew me in, and even though she did very little of that, the world she was part of was compelling enough for me to push through LinkedIn connections and find my way into what I thought was my dream job. The reality, of course, was somewhat different. The glamour was a little minimised, replaced instead by long hours, tight deadlines, and the kind of behind-the-scenes work that rarely makes it to the front row. And with The Devil Wears Prada 2 taking over my feed recently, it felt like the right time to address the misconceptions surrounding the realities of working for a fashion magazine. Believe me, there's a ton of them. So brace yourself for a slightly unglamorous reality check.

Here we go. 

There’s no fashion closet to “borrow” fits from 

This is perhaps the biggest misconception, one that almost every film or show about fashion magazines leans into. The idea of a magical closet stocked with enviable designer pieces, from couture gowns and evening wear to perfectly styled office looks, along with every accessory imaginable: bags, jackets, heels, jewellery, and, for some reason, even lingerie. The reality is far less cinematic. There is no magic closet. Yes, we do occasionally have access to designer pieces through shoots, brand collaborations, or industry connections, but these are borrowed for very specific purposes and for very limited windows of time. They go right back once the job is done. So no, unlike what is shown in The Bold Type, there is no wardrobe to dip into for a last-minute event, a dreamy date, or an outfit crisis before an important meeting.

On that note, we do not wear high-fashion designer pieces to work either 

Building on the whole designer wardrobe fantasy, no, we are not stepping into the office in Jimmy Choos and Louboutins every day. Nor are we carrying Fendi Baguettes, Dior Saddle bags, or oversized Chanel totes. Nor are we stacking statement jewellery and wearing a full face of heavy makeup from morning to night. The expectation isn’t excess, just effort. We dress to look polished, professional, and well put-together, but comfort takes priority. That usually means well-fitted jeans, relaxed tailoring, easy trousers, breathable shirts, chic midi or maxi dresses, and even co-ord sets dominating our everyday looks. Add to that practical flats, everyday sneakers, and minimal accessories that can carry you from desk to event without much fuss. Unless, of course, it is the kind of event you really dress up for, that's a whole other story. 

It's not all fashion shows and galas; there’s actual work to do 

This is where the glamorisation really begins. Working at a fashion magazine is often imagined as a constant rotation of fashion shows, designer run-ins, galas, shoots, and after-parties. And while those moments do exist, they are only a small part of the job. Beyond the events, there is actual work that keeps the magazine running. There is the writing bit that Andy Sachs was chasing: pitching ideas, researching, interviewing, and shaping stories that feel timely and relevant. There is tracking cultural shifts, keeping pace with trends across fashion, beauty, and lifestyle, and figuring out what is worth talking about in the first place. There is also a fair amount of coordination: working with stylists, photographers, PR teams, and brands, pulling together shoots, managing timelines, fact-checking, editing copy, and often juggling multiple deadlines at once. The real job almost always happens behind the scenes and rarely ever makes it into the highlight reel.

The job is not just “having taste”

I think this one is my favourite. In most films about working for a magazine, all the protagonist really needs to succeed is “good taste.” The Devil Wears Prada made fun of Andy for not knowing about some of the designers, ignoring the actual work she put into her job. But the moment she gets her makeover, everyone begins to take her seriously, because well, she has good taste now. Even Betty Suarez, in Ugly Betty, is positioned as the outlier who proves that authenticity and a sharp eye can carry you through. But in reality, taste is only a small part of the job. The more important job includes the countless roles that sit within a single title. There is writing, which includes pitching, researching, interviewing, editing, and fact-checking. There is also social media to consider, where you have to write captions, track performance, and understand what resonates with an audience in real time. Add to that coordinating shoots with stylists, photographers, PR teams, and brands, while working to tight deadlines and constantly adapting to shifting trends and formats, and the reality gets tougher. Taste might help you identify the new trends, but it cannot replace the range of skills the job actually demands. 

Assistants aren’t running around fetching coffee all day 

The number of times Andy Sachs ran around New York City fetching coffees, lunches, and random errands for Miranda Priestly was honestly baffling. And far from true. It's just another exaggerated detail from the movies. The truth is, being an assistant to the editor is a serious job with real work to do. Yes, some moments involve logistical help, but an assistant's role does not involve being a 'fetch-it girl' for the editor. They are managing schedules, coordinating meetings, communicating with brands and their teams, onboarding new hires, handling freelancer contracts, coordinating their finances, tracking samples, and making sure timelines stay on course. They are also deeply involved in editorial support, whether that means helping with pitches, researching material for editorial content, or stepping in wherever needed to keep things moving. It is fast-paced, detail-heavy work that requires you to be switched on at all times. So no, the assistant role is not reduced to coffee runs, dry cleaning pick-ups, and frantic errands. That's just the films and shows playing the script for comic effect. 

The glamour exists, but it is not the whole story