Do We Like the Fashion in The Devil Wears Prada 2 So Far?

We’ve been watching The Devil Wears Prada 2 live—through the cracks of paparazzi lenses, out-of-context X (formerly Twitter) dispatches, and blurry Instagram Stories that feel more like leaks than previews. In a film shot in New York City, there’s no hiding the clothes. And what we’ve seen? A mixed bag—and not always the good kind, like a Tom Ford-era Gucci tote.

RELATED: Why Having Asian Characters in Devil Wears Prada 2 Just Makes Sense

A New Look

The original film’s costume designer, Patricia Field (of the original Sex and the City, Ugly Betty, and Emily in Paris), a woman whose aesthetic could be described as maximalist drag meets downtown niece on mushrooms, has bowed out. In her place: Molly Rogers, who co-designed And Just Like That…—a series with its faults, but fashion was never not discussed. Whether you hated Carrie’s “homeless Strawberry Shortcake” look or Miranda’s Joker-chic suiting, the point was you felt something. And in the fashion world, that’s the whole point.

What happens when a movie built entirely on fashion legacy returns in the reboot-happy 2020s? Well… people have opinions. Some of them unprintable. Because while reboots like The Hunger Games: Sunrise on the Reaping and the Harry Potter series bank on lore and character arcs, The Devil Wears Prada has always hinged on the clothes. If fashion fails, the film fails. Period.

Runway Reboot

Yet, we’re trying to stay calm.

Anne Hathaway as the determined Andy has already been spotted in a mosaic Gabriela Hearst S/S25 dress, Chloé sandals, a Fendi bag, a bucket hat, and a Runway garment bag. There’s a lot going on. It’s giving “Pinterest board from hell.” Maybe this is part of an ironic montage: Andy’s “try-hard fashion era” before she finds her footing. Let’s hope.

More promising is a vintage pinstripe Jean Paul Gaultier suit; structured, assured, and unmistakably adult. It doesn’t plead to be noticed, but assumes it will be. A far cry from the doe-eyed assistant who fled Paris. In her place stands a woman who’s learned that good taste isn’t handed down—it’s earned.

Meanwhile, Miranda Priestly—in Meryl Streep’s anticipated return and her first sequel—remains untouched by time or tonality. She’s been spotted in crimson Jacquemus shoes that would’ve devoured Valentino whole.

Her hair remains frosted to perfection—so blinding it could redirect the sun. Another look shows her in a brown-and-violet pairing under a classic trench, her pursed lips pulled taut and tight. A plotline suggests she must humble herself to court big-money execs to save her title—timed all too well with media’s own identity crisis, blurred by AI and fraying under the weight of disinformation. Perhaps the loosened silhouettes say what she won’t.

Blazers, Bustiers, and a Side of Payback

But could this be a menswear movie in disguise? Emily Blunt was just spotted on set in a look that leaned sharply into the tailored tension: a Weiderhoeft bustier layered over a Dior white button-down, printed with logo safety pins, and paired with Jean Paul Gaultier wide-leg trousers featuring corset detailing.

Hathaway and Streep’s latest looks skew androgynous—blazers, slouchy suiting, and crisp shirting abound. If the original film made stilettos and statement bags shorthand for power, this sequel might be rewriting the dress code in a lower pitch: fashion executive after five mergers.

If so, then these are all great.

Meanwhile, Stanley Tucci’s ever-endearing Nigel appears more or less unchanged; still sharp in monochromatic suiting, though now with surprising layers of mixed prints, from his suit to his shirt to his tie. The look feels more expressive, richer, almost like a sly nod to a character who’s long been due his flowers. One can only hope Miranda’s finally repaid him—professionally, if not financially—for the countless times he carried Runway on his beautifully blazered back.

As for new faces, Simone Ashley has been spotted on set in a Monse dress worn over a crisp white long-sleeved shirt. Her hair is pin-straight and slick, a clean silhouette against a look that leans edgy and experimental. It suggests a different tempo of style—contemporary, yes, but attuned to the way fandom now flattens, shares, and screenshots fashion in real time. Algorithm-aware, if that’s even a real aesthetic.

That’s speculation, of course. But fashion is always subtext. And here, the subtext is a little blurry.

We’ve only seen a glimmer of what’s to come, but the stakes are higher than ever. Fashion people are impatient, funny, and also terrifying when provoked. They will drag. They will dissect. They will screenshot and zoom.

We’re not saying it’s a flop. We’re saying it’s a developing situation. Stay tuned and keep the loins girded.

Photos: FILM UPDATES (via X), POP CULTURE CHAT (via Reddit), 20TH CENTURY STUDIOS and JACQUEMUS (via Instagram)