Twenty years after “The Devil Wears Prada” taught the world about the color cerulean through a takedown of a cable-knit sweater, “Runway” magazine editor in chief Miranda Priestly will be back on the silver screen on Friday alongside her most disappointing protégé, Andy Sachs.
With Anne Hathaway and Meryl Streep reprising their respective roles as Miranda and Andy, plus Emily Blunt and Stanley Tucci coming back to round out the “core four” cast, excitement for the long-awaited sequel has been palpable since its announcement. To curate the film’s whirlwind of designer looks, veteran costume designer Molly Rogers took the reins from her friend Patricia Field.
WWD sat down with Rogers to break down the fashion ahead of the release of “The Devil Wears Prada 2,” which finds Andy working as features editor at “Runway” with Miranda, who’s still the top dog.
Of the infamous editor in chief’s style evolution, Rogers shared, “Miranda has certainly compiled even more power in her position, so I think her clothes needed to reflect that her reach is even greater in the global world.”
Meryl Streep as Miranda Priestly and Anne Hathaway as Andy Sachs in 20th Century Studios’ “The Devil Wears Prada 2.”
Macall Polay. © 2026 20th Century Studios. All Rights Reserved.
Costuming decisions for Miranda focused on “very clean silhouettes…nothing shouts.” (Although a colorful Dries Van Noten tassel-adorned jacket is a notable exception, which Rogers believes is like a relative to an embellished Bill Blass jacket worn by Miranda in the first film.) Rogers added, “I think it was important — and Meryl said this as well — she needed a shoulder. She really needed to command authority.”
Miranda also has a grand entrance at a gala wearing a custom red Balenciaga dress, complete with a matching red slingback heel which gets a close-up before the reveal of the archive-inspired ballroom gown, which was crafted from silk super taffeta.
Meryl Streep as Miranda Priestly and Stanley Tucci as Nigel Kipling in 20th Century Studios’ “The Devil Wears Prada 2.”
Macall Polay. © 2026 20th Century Studios. All Rights Reserved.
Andy’s 20-year fashion journey was comparatively more complex. The 2006 film featured a dramatic makeover, thanks to Tucci’s character Nigel and the “Runway” fashion closet, but she ultimately leaves the magazine. However, the sequel reveals that Andy has thriftily built up an impressive wardrobe through the years even while she was away from the fashion industry.
“It was more of a discovery to find what her character would be doing because she has traveled a lot as a reporter,” Rogers said of Andy. “And we just had to find the right mix of some vintage, where she found things. She had learned about fashion from ‘Runway,’ so she knew, ‘Well that’s a good piece for me to get, I’ll have that Coach messenger bag for the rest of my life.’”
Running around in lots of smart vests and blazers, Andy’s current aesthetic is described as “feminine menswear”; Rogers recalled that Field had kept Diane Keaton’s title character from “Annie Hall” as a distant reference point for Andy. “So that always stuck in my head, too, a loose tie, a loose vest — just my take on it, and Annie’s also.”
Find her, for example, in an archival Jean Paul Gaultier pin-striped suit featuring a vest with a narrowed waist and straight trousers.
Anne Hathaway wears an archival Jean Paul Gaultier look in “The Devil Wears Prada 2.”
Left: 20th Century Studios. Right: Macall Polay
The sequel’s story involves Miranda and the “Runway” team trying to smooth over an editorial blunder; this brings them face-to-face with Blunt’s character Emily Charlton, now an executive at Dior, since they need her company’s advertising dollars. WWD asked Rogers about the real-life brands featured in the film and how that influenced costuming.
“Everybody wanted to participate in this movie, the stage that you get your product on — it is incredible,” the costume designer said. “I think for this time around it was more about being able to edit the massive amount of things that were coming in. And I would never ever be able to work on something where someone came into the costume department and said, ‘You have to use this. This character has to carry this bag.’ I wouldn’t be able to be dictated to like that. I want the freedom. If you work at Dior, you’re not in all Dior.”
One piece her team loved but couldn’t place on a character was a fishnet Gaultier dress with the Eiffel Tower on the front.
Emily Blunt as Emily Charlton in 20th Century Studios’ “The Devil Wears Prada 2.”
20TH CENTURY STUDIOS
The fashion only heightens once the team heads from New York to Milan. Miranda, for example, takes a contemplative stroll through the Italian city in a black sequined coat scattered with colorful jewels, a look from the Armani Privé spring 2026 couture collection. The setting heavily influenced Rogers selection here.
“When I read in the script that Miranda walks through Milan at night after a dinner party, I want something that sparkles. I want it to reflect evening and the wet cobblestone, I got to have something like a starry sky,” Rogers said. “We were fortune enough to get Mr. Armani, some of his Privé, and he had recently passed, like that week, and Meryl and Annie were really grateful that we were representing him in the movie and we had some special pieces.”
Andy had an Armani Privé moment as well, wearing a black velvet jumpsuit at one point in the film with bedazzled tie-shaped straps from the fall 2024 couture collection.
Anne Hathaway wears a fall 2024 Amani Privé look while Meryl Streep wears a spring 2025 Amani Privé look in “The Devil Wears Prada 2,” showcased here in sketches and on the runway.
First and third images: 20th Century Studios. Second and fourth images: Giovanni Giannoni/WWD.
There are several nostalgic nods to the first film peppered throughout the sequel. While Rogers didn’t initially know there was a cameo made by the teal belts, and she didn’t want to touch the Chanel thigh-high boots “with a 10-foot pole,” she was passionate about the cerulean sweater making a comeback. In fact, tracking down the sweater — which Miranda famously used to illustrate how Andy can’t be extricated from the world of high fashion — was Rogers’ first order of business once she knew she had the job.
Anne Hathaway and Stanley Tucci “The Devil Wears Prada” (2006).
©20thCentFox/Courtesy Everett C
The sequel’s take on the cerulean sweater received a bit of a modification, courtesy of Anne Hathaway herself.
“I wanted to do something, I wanted to shred it like Margiela. Annie grabbed its cousin, because that’s the real one,” Rogers said, pointing to a sweater hanging in the “Runway”-inspired junket interview setting. “She grabbed it in a fitting and she chopped the sleeves off — we all screamed. But it was good because we were kind of doing her menswear-inspired, so it was great that it ended up a vest.”
Rogers said of the fitting sartorial callback, “There were like three scenes I thought it would be appropriate in, and the more I read the script the more I knew she needed to end up at the end in it.”
