The Devil Wears Prada 2 Fashion Moments We'll Be Copying All Year

Hollywood loves the fashion world. There are no shortage of movies and shows dedicated to the industry, like Coco Before Chanel, Project Runway, and Phantom Thread. But there’s one movie that stands out among the crowd, not to mention the test of time. It was the sleeper hit of 2006 starring Meryl Streep and Anne Hathaway, The Devil Wears Prada. 

The film follows a young journalism grad, Andrea “Andy” Sachs, looking to make it in the big city. She lands her first job as second assistant to the most formidable editor in the business: Miranda Priestly (played by Streep), of Runway magazine. 

Priestly’s character is loosely modeled off of real-world publishing titan Anna Wintour, former editor-in-chief of Vogue. Like Wintour, Priestly is no-nonsense, tough as nails, and has a supernatural ability to spot trends years before they become mainstream. Priestly is an uncompromising boss who demands excellence from everyone around her, especially her assistants: Hathaway’s character Andy, and Emily Charlton, played by Emily Blunt. The job, to put it mildly, is a challenge. 

Fast forward 20 years, and a more experienced Andy is returning to Runway as features editor after a hiatus “chasing stories” for the fictional New York Vanguard. She will work once more under Priestly, and occasionally with Charlton, who is now a senior executive at Dior. But this time, Andy is accomplished, professional and more self-assured than ever. With two more decades of experience under their belts, this may be the best era of Runway yet. 

The plot is delightful, but the real star of the franchise is the fashion. In both iterations of The Devil Wears Prada, the wardrobe department steals the show. Full of models and industry insiders wearing (impeccably styled) designer head-to-toe, the costumery is a feast for the eyes. 

Patricia Field, of Sex and the City and Emily in Paris fame, designed the unforgettable wardrobe for the original film. In it, Field showcased Y2K fashion: peep toe heels, wide belts and plenty of tweed. 

The fashion in the sequel, designed by Field’s mentee Molly Rogers, however, is elevated, upgraded and looking to the future. The Runway girls still love a pinstriped suit, but in 2026 the looks are more modern and relaxed. There’s less flash, more poise. Quiet luxury has arrived on the scene, and has completely taken over. 

With the dream team now fully in their prime, everyone has arrived, so to speak, and so has the fashion. Breaking down all the best looks from The Devil Wears Prada 2 for you here:

Quiet Luxury

Just when you thought quiet luxury was dead, The Devil Wears Prada 2 revives the opulent aesthetic, and serves it cool. Relaxed trousers and silk blouses abound, as do full monochrome outfits in muted tones. It really makes you want to go out and buy some cashmere, or a long wool camel coat. Costume designer Molly Rogers got the memo that the characters are all grown up now, and it kind of makes you want to grow up, too. 

Loud Prints

When they’re not doused in quiet luxury, the Runway girls are not afraid of a loud print, and they sport spectacular varieties throughout the film. One of the most memorable is a gorgeous Gabriela Hearst patchwork maxi dress that Andy wears to a party in the Hamptons. Later, she arrives at a show in Milan in plaid Chanel couture, and steals the whole scene.

Sheer Genius

Sheer pieces also abound in the film, via everything from black tie evening gowns to chic office wear. One of the most memorable pieces is a checkered top from Acne Studios over a black bustier, paired with a pleated Fendi skirt worn by Andy after she writes her first defining feature upon returning to Runway.

Feminine Menswear

Did we mention the suits? Again, the high-powered magazine moguls love a luxe three-piece suit, but these hit different. They’re chic, relaxed, and distinctly feminine. Also a bit unconventional. One of the best iterations is a black and white pinstripe trouser/corset combo with a graphic Dior button up underneath worn by Emily. 

The Devil Wears Prada 2 office wear could take you from swanky brunch, to meetings, to happy hour, looking 10/10 the entire time. In soft tones, this is not your general boys club attire. Another showstopper is Andy’s vintage pinstripe Jean Paul Gaultier waistcoat and trousers. The chef’s kiss of business casual.

Layered Jewelry

The clothes aren’t the only thing that have grown up in The Devil Wears Prada 2, though. The jewelry has as well. Compared to the chunky, flashy accessories seen in the first movie, the sequel displays simpler, more elegant, industrial pieces that whisper instead of shout. 

A favorite jewelry styling moment is a gold T-bar necklace layered with a pearl choker, and worn by Andy in the vintage Jean Paul Gaultier. It feels like sifting through your mom’s jewelry drawer and realizing she has truly iconic taste.

High Shine

The wardrobe often sparkles as much as the movie itself, especially when the crew is in Milan. Visiting the stunning Italian city for Fashion Week, almost the entire cast is seen in a sequined, rhinestoned or otherwise bedazzled look at least once during the festivities. Sparkly jumpsuits are standard fair, as are rhinestone tops and sequin dresses. One particular standout is a blue sequin Rabanne dress worn by Andy to the birthday party for the owner of Runway, Irv Ravitz.

And Scene

The Devil Wears Prada 2 is a constant juxtaposition of old and new. It honors the nostalgia of the first movie, while centering today’s aesthetic, and showing us where fashion is headed in the future. But it also highlights the struggle of a dying empire (print media) attempting to adapt in order to keep pace with the industry. Fighting for relevance in a digital age is a major theme throughout the film, and you find yourself torn between a longing for the past, and a desire to move toward modernity. It’s conflicted, wistful, and also hopeful.

The film reminds us that when it comes to fashion, the past is important, but what really matters is what’s happening now, and what is just around the corner. Fashion, like media, is inescapably forward-facing.