What The Devil Wears Prada 2 reveals about fashion in 2026.

Ever since the opening chords of KT Tunstall’s ‘Suddenly I See’ introduced Andy Sachs (Anne Hathaway), an aspiring journalist looking for her big break in The Big Apple, The Devil Wears Prada (2006) captivated fashion fans around the world.

The film also gave us assistant Emily Charlton (Emily Blunt) and art director Nigel Kipling (Stanley Tucci). The ‘devil’ of The Devil Wears Prada, editor-in-chief of Runway Miranda Priestly, is played with quiet, intimidating authority by Meryl Streep – who we often see brokering business from the office, her home and the backseat of a Mercedes-Benz S‑Class.

Two decades on, the world Miranda ruled through her unrivalled taste, withering looks and cutting remarks looks entirely different. And not just on the screen. The Devil Wears Prada 2 shines a light on what has endured in fashion, style and luxury since the original film – and what’s changed.

From 2006 style trends to character-driven looks

An array of iconic 2006 style trends featured heavily in the original film, including blazers – patterned, embellished and in a variety of textures from crepe to suede – layered necklaces, statement leather bags, animal prints, pinstripe suiting, block-coloured and tactile patterned winter coats, and oversized belts cinching in dresses, blouses and skirts. The clothes from The Devil Wears Prada embodied and reflected a collective appreciation of fashion and the expressive ability of personal style in the early 2000s.

In The Devil Wears Prada 2, Andy has returned to the beloved magazine and stepped into the role of Runway’s features editor. Costume designer Molly Rogers says she wanted the character’s clothes to reflect Andy’s life experience.

“It was natural to reach for feminine menswear because it carried the DNA of where the first movie dropped off,” she says in a Behind The Fashion of The Devil Wears Prada 2 featurette. Jean Paul Gaultier, Armani Prive and Maison Martin Margiela are just some that are worn by the more mature woman comfortable in her skin."

Emily, on the other hand, has risen to chief communications officer at Dior – and in a flipping of the original narrative, Miranda is now the one knocking at her door. In the featurette, Emily Blunt observes that her character “deliberately wears clothes to pull focus”. Form-fitting, bold and delivered with playful panache, Emily’s wardrobe reflects a character realising her own power and influence.

Meanwhile, creative director Nigel continues to wear suits that are reliably sophisticated and distinctive, showcasing the endurance of timeless style regardless of trends. The art of craftsmanship may seem niche in a world of fast fashion, but the appreciation of it has never wavered. As Stanley Tucci notes, “there’s a certain flamboyance to [Nigel] but it can’t be over the top. His clothes can be very layered when it comes to texture or pattern but it’s very specific.”