Gird Your Loins: The Devil Wears Prada 2 Fashion Breakdown

Miranda Priestly in custom Balenciaga. Andy Sachs in archival Jean Paul Gaultier. Emily Charlton in Dior, then Coach, then absolutely unhinged in the best possible way. The Devil Wears Prada 2 is a love letter to fashion, to women who have grown into their power, and to the idea that your wardrobe always tells your story before you open your mouth.

Costume designer Molly Rogers, who worked as an associate on the original film under the legendary Patricia Field, stepped into the lead role for the sequel and built three wardrobes that feel like full character studies. Every outfit earns its place. Nothing is accidental.

Here is every look, every label, and every moment that made me want to completely overhaul my wardrobe.

Miranda Priestly: Power, Evolved

Meryl Streep’s Miranda Priestly is the blueprint for power dressing. In the sequel, her wardrobe remains razor-sharp but carries a quieter, more considered confidence than before. The foundations are all there: floor-sweeping coats, precise tailoring, statement outerwear. But this time around, there is depth, texture, and even a little vulnerability woven into every look.

The Opener: Houndstooth + Valentino Rockstuds

Miranda re-enters the world of Runway the only way she knows how: without announcement and without apology. In the now-iconic elevator scene, she appears in a Libertine black and white houndstooth silk midi skirt, a black wrap blouse cinched with a red patent belt, and her signature Jimmy Choo black cat-eye frames. The camera opens on her feet first, and for good reason. Those are Valentino red Rockstud pointed-toe pumps striding across the Runway floor, and they say everything before she opens her mouth. The Rockstud is a Valentino classic that has outlasted trends, seasons, and entire creative eras, which makes it the perfect shoe for a woman who has done exactly the same thing.

Designers: Libertine black/white houndstooth silk midi skirt, Jimmy Choo black cat-eye sunglasses, Valentino red Rockstud pointed-toe pumps

The Statement Jacket: Dries Van Noten Tassel Tweed

If there is one piece in this entire film that the fashion world will not stop talking about, it is this one. The Dries Van Noten multicoloured tassel tweed jacket is bold, textural, and completely maximalist in the best possible way. Worn here with blue cat-eye frames instead of her usual black, it is one of the rare moments Miranda allows colour and personality to lead the look. Dries Van Noten is clearly her muse in this chapter of her life, and this jacket alone makes the case for why. No one else on screen could wear this and make it feel like authority rather than a costume.

Designers: Dries Van Noten, multicolour tassel tweed jacket, blue cat-eye frames

The Grey Monochrome: Head-to-Toe Silver

This is Miranda at her most minimal and, perhaps, her most powerful. A fluid grey longline coat over a grey silk midi skirt, worn with matching grey pumps and a dark structured clutch. The entire look operates on one single tonal note. Black cat-eye sunglasses are the only contrast, and a delicate chain necklace adds just enough femininity to stop it from reading as pure armour. This is the look of a woman who no longer needs colour to command a room. The message is clear without a single word needed.

Designers: Grey longline coat, grey silk midi skirt, grey pumps, dark structured clutch

The Street Look: Camel Coat + Red Bow Pumps

One of the most unexpected and quietly brilliant looks Miranda wears in the entire film. A sharp camel longline coat over a white pinstripe shirt and navy wide-leg trousers, finished with red bow-detail pumps and white cat-eye sunglasses. The red shoes are the twist. Against the neutral palette of the coat and trousers, they are playful, almost defiant. A black leather clutch keeps it grounded. This is Miranda off-duty by her own definition: still perfectly constructed, still making a statement, but with a fraction more ease than the Runway corridors allow.

Designers: Camel longline coat, white pinstripe shirt, navy wide-leg trousers, red bow-detail pumps, white cat-eye sunglasses, black leather clutch

The Apricot Trench: Softness as Strategy

Of all Miranda’s looks in the sequel, this one is the most unexpected. A floor-length apricot satin trench coat, double-breasted with gold buttons, worn with taupe wide-leg trousers and brown loafers. She carries a cream tote and wears simple black sunglasses. There is nothing sharp about this look, and that is exactly the point. The colour is warm, the silhouette is relaxed, the accessories are understated. For a character who has spent twenty years using clothing as armour, this feels like the first time Miranda is dressing for herself rather than for the room she is about to walk into.

Designers: Apricot satin double-breasted trench coat, taupe wide-leg trousers, brown loafers, cream tote

The Gala Gown: Custom Balenciaga Red

This is the look that will be remembered. For the film’s Met Gala scene, Miranda arrives in a custom Balenciaga red silk super taffeta gown. The construction is architectural, the volume extraordinary, and the colour completely unapologetic. An off-shoulder drape frames the silhouette, and statement gemstone earrings catch the light at every angle. There is no bag, no belt, no distraction. The gown is the entire conversation, and Miranda, as always, knows exactly what she is doing.

Designers: Custom Balenciaga red silk super taffeta gown, matching Balenciaga red slingback heels, statement gemstone earrings

The Milan Night: Armani Privé Sequin Coat

For the Milan scenes, Miranda wears one of the most emotionally weighted outfits in the film. The Armani Privé black sequin coat is structured and commanding, scattered with coloured jewels that catch the light like a night sky. Underneath sits a Rixo black metallic feather-printed blouse, with flashes of teal, gold, and red glinting through the sequins. Costume designer Molly Rogers specifically wanted something that would reflect the wet cobblestones of Milan at night, and the result is exactly that: a look that belongs to the city and the hour. With Giorgio Armani having passed during the filming of the sequel, these Armani Privé pieces carried extra weight on set. Wearing them was a tribute, and it shows in every frame.

Designers: Armani Privé black sequin embellished coat (Spring 2026 couture), Rixo black metallic feather-printed blouse

Andy Sachs: Arrived, Finally

Andy’s evolution in the first film was the whole point. In the sequel, the transformation is complete. Anne Hathaway’s Andy is polished, intentional, and effortlessly cool in the way only someone who has truly grown into their style can be. She is no longer dressing to keep up. She is dressing because she genuinely knows who she is.

The Pinstripe Street Look

If there is one look in this film that made me want to raid a vintage archive immediately, it is this one. Andy strides down a New York street, mid-phone call, wearing a vintage Jean Paul Gaultier black-and-white pinstripe sleeveless waistcoat with matching Jean Paul Gaultier pinstripe wide-leg trousers. The co-ord is sharp and tailored, but worn with such ease it never feels stiff. Golden Goose black pointed-toe western ankle boots give it an unexpected edge at the hem, and the bag is, of course, a vintage Coach black leather messenger worn crossbody. That bag is practically a character in itself at this point. A simple pearl necklace and leather bracelet are the only softness in an otherwise fully tailored look, and her sunglasses are in her hand rather than on her face, which somehow makes the whole thing feel even more effortless. This is what knowing your own style actually looks like.

Designers: Vintage Jean Paul Gaultier black/white pinstripe waistcoat and trousers, black leather ankle boots, vintage Coach black leather messenger bag

The All-Black Park Scene

This is Andy at her most grown. Walking through Central Park, she wears a floor-length black longline coat over a black sheer and satin midi dress, the fabric catching the light just enough to stop it from reading as funeral. Black patent pointed-toe pumps, oversized black cat-eye sunglasses, and a structured black crocodile-embossed handbag complete the look. Everything is black, everything is intentional, and nothing is trying too hard. The sheer layer under the coat is the detail that elevates the whole thing from polished to editorial.

Designers: Black longline coat, black sheer and satin midi dress, black patent pointed-toe pumps, black structured crocodile-embossed bag, black cat-eye sunglasses

The Blue Sequin Moment

The most joyful look Andy wears in the entire film. An electric cobalt blue sequin midi dress from Rabanne, with a relaxed tank-style bodice and a draped, pleated skirt that catches every bit of light on the street. She wears René Caovilla blue embellished strappy sandals and carries a Rabanne silver chainmail pouchette, a full-house moment that ties the look together with a genuine fashion-insider wink. There is no coat, no layers, no armour. Just Andy in full colour, fully herself. After all that structured tailoring, this look is a breath of pure air.

Designers: Rabanne blue metallic draped midi dress, René Caovilla blue embellished braided sandals, Rabanne silver chainmail pouchette

The White Shirt + Sage Green Skirt

One of the most wearable and quietly brilliant looks in the film. A crisp oversized white button-down shirt, slightly rolled at the sleeves, tucked into a sage green Sacai pleated midi skirt with cargo-style patch pockets. Dark forest green snakeskin pointed pumps tie the colour palette together, a simple navy crossbody bag keeps it practical, and a gold chain necklace adds just enough polish. Black cat-eye sunglasses keep it sharp. The pockets are doing a lot of heavy lifting here, and that is genuinely meant as a compliment. It is feminine and functional at once, which is very Andy.

Designers: White oversized button-down shirt, Sacai sage green pleated cargo midi skirt, dark green snakeskin pointed pumps, navy crossbody bag

The Hampton Jitney Departure

This is Andy off-duty and fully happy, and it shows. A bold geometric stained-glass print maxi dress in red, yellow, blue, and dusty pink, sleeveless and easy, worn with a cream structured bucket hat and oversized black sunglasses. A pearl and gold chain necklace adds warmth against the colourful print. The context makes the look even better: stepping off the Hampton Jitney surrounded by Runway-branded canvas luggage, phone in hand, completely at ease. The Runway tote sitting at her feet is equal parts practical and on-brand. After scenes of sharp tailoring and editorial dressing, this is the moment that reminds you Andy was always a real person underneath all of it.

Designers: Geometric stained-glass print maxi dress, Amor Y Mezcal burgundy-trim straw bucket hat, Marlo Laz squash blossom beaded necklace, Fendi blue Zucca basket tote

The Plaid and Pleats Moment

This look is unexpected, and it works completely. A sheer beige plaid long-sleeve top paired with a high-waisted Fendi black pleated midi skirt with gold chain hardware at the waist. The shoes are the statement: Ulla Johnson black studded leather sandals, worn with the same ease as everything else in her wardrobe. She carries a sleek black structured bag and wears amber-tinted round sunglasses that give the look a slightly retro, editorial edge. A delicate pearl necklace keeps it feminine. This is Andy mid-morning in the city, dressed like she belongs on the cover of the magazine she once fetched coffee for.

Designers: Semi-sheer plaid long-sleeve top, Fendi black pleated midi skirt, Valentino black Rockstud strappy sandals, black structured bag

The Armani Privé Evening Look

For one of the film’s most dramatic indoor evening scenes, Andy wears the Armani Privé Fall Couture 2024 look: a black sheer tulle long-sleeve high-neck bodysuit with crystallised suspender straps designed in the shape of a tie, running down the front and catching every bit of warm light in the room. Paired with high-waisted black velvet wide-leg trousers, the fluid weight of the fabric below beautifully grounds the delicacy of the sheer top. Her hair is pulled into a tight, slicked-back chignon, a full departure from her usual loose waves, and a red lip does everything jewellery might otherwise do. Costume designer Molly Rogers spoke about ties as a deliberate thread running through the women’s wardrobes in this film, and this crystallised tie detail on Andy is perhaps the most elegant version of that idea in the entire movie.

Designers: Armani Privé Fall Couture 2024, black sheer tulle bodysuit with crystallised tie-shaped suspender straps, black velvet wide-leg trousers

Emily Charlton: Sharp, Darker, More Dangerous

Emily Charlton has always been the most extreme dresser in the room, and in the sequel she leans so far into it that she practically becomes a fashion installation. Now a senior executive at Dior with real power over Runway’s advertising budget, she dresses like someone who has been waiting her entire career for this exact moment. Every look is a statement of intent. Every outfit says: I won, and I dressed for it.

The Signature Dior Power Look

This is the look that made the internet collectively lose its mind when the first set photos dropped, and seeing it in full context makes it even better. Emily layers a Dior white logo safety-pin button-down shirt under a Wiederhoeft black satin corset bustier top, worn with Jean Paul Gaultier wide-leg pinstripe trousers that elongate the whole silhouette into something impossibly chic. The corset over the shirt is the detail that makes it: it takes a look that could have been merely editorial and suddenly stops being an outfit and starts being a statement. She carries a large black leather hobo bag with gold hardware and wears Dior black DiorPacific cat-eye sunglasses. This is a woman dressed in the house she now runs. The Dior shirt is not subtle; it is not supposed to be, and Emily would have it no other way.

Designers: Dior white logo safety-pin button-down shirt, Wiederhoeft black satin corset bustier top, Jean Paul Gaultier wide-leg pinstripe trousers, Dior black DiorPacific cat-eye sunglasses, large black leather hobo bag

The Zimmermann Capelet + Dior Houndstooth

If Emily’s first look is a power move, this one is a flex. A Zimmermann dark olive green leather capelet sits over a Dior black and white houndstooth sequin blazer, the two textures competing for attention in the best possible way. Dark trousers ground the look from the waist down, and grey leather gloves add an almost villainous finish. A long chain necklace layered at the collar ties it all together. This is Emily in a room where she is not yet the most powerful person, but she is absolutely the best dressed.

Designers: Zimmermann dark olive green leather capelet, Dior black/white houndstooth sequin blazer, grey leather gloves

The Coach Era: The Final Punk Statement

This is the look that tells you everything about where Emily ends up by the end of the film. After leaving Dior for Coach, her wardrobe makes a full pivot: a bold red and black striped Coach sweater worn with a crystal-embellished tie at the collar, sheer black mini shorts, black sheer tights, and dark burgundy lace-up ankle boots. The platinum blonde hair is another deliberate signal of a new chapter. Costume designer Molly Rogers specifically called out the crystal tie as the essential punctuation on Emily’s entire character arc, describing it as her final punk statement. It is chaotic, it is irreverent, and it is completely, unapologetically her. The first film gave us Emily in pristine Runway armour. This film ends her in a sweater, tights, and a crystal tie, and somehow that feels like the ultimate upgrade.

Designers: Coach red/black striped sweater, crystal-embellished tie, sheer black mini shorts, dark burgundy lace-up ankle boots

The Gaultier Overalls at Dior

One of the most quietly subversive looks in the film. Inside the Dior New York boutique, Emily wears a 2010 Jean Paul Gaultier x Levi’s dark denim bib overalls with a white sleeveless top underneath and a Christian Dior navy blue monogram silk scarf tied at the neck. The combination of Gaultier overalls inside a Dior space is a deliberate tension: an executive powerful enough to wear whatever she wants, wherever she wants, and still command the room. The scarf stops it from reading as too casual, while the overalls stop it from being too reverential. Only Emily Charlton would wear denim overalls on a tour of Dior’s rainbow staircase and make everyone else feel underdressed.

Designers: 2010 Jean Paul Gaultier x Levi’s dark denim bib overalls, Christian Dior navy blue monogram silk scarf

The Galliano Newsprint Hoodie Layer

This is the most fashion-insider look in the entire film and the one that collectors will be talking about for years. Emily wears John Galliano’s iconic year 2000 newsprint collection hoodie, one of the most coveted archival pieces in existence, layered under a grey, embellished, structured bomber jacket covered in oversized jewelled floral brooches. The bomber has dramatic puffed sleeves and a front zip, giving the whole look a sculptural, armour-like silhouette. Grey wide-leg trousers and grey fingerless gloves make the entire look one continuous textural palette, broken only by the glint of the brooches. The Galliano newsprint hoodie peeking out underneath is the kind of detail only a true fashion insider would catch. Emily is very much a true fashion insider.

Designers: John Galliano 2000 newsprint collection hoodie (archival), grey embellished jewelled structured bomber jacket, grey wide-leg trousers, grey fingerless gloves

The Gala Entrance

This was costume designer Molly Rogers’ favourite look in the entire film, and looking at it, it is easy to understand why. Emily arrives in a strapless Dior gown: a nude tulle and black lace corset bodice, matching opera gloves, and a slinky black satin skirt finished with a double side bow. The bow detail is everything. Rogers herself described the thinking behind it perfectly: Dior bows read as preppy, polished, Charlotte York. On Emily Charlton, that same bow becomes something darker, more theatrical, entirely gothic. Assistants hold open a sweeping white topper around her as she walks through the hallway, the volume of it filling the entire frame. At her throat, a statement gemstone choker catches the light. Rogers called this her favourite look in the film. Looking at Emily’s expression as she walks through those doors, Emily Charlton would agree.

Designers: Dior strapless gown, nude tulle and black lace corset bodice, black satin skirt with double side bow, matching Dior opera gloves, statement gemstone choker necklace

The Final Word

Twenty years ago, this story was about a girl who didn’t know what cerulean was. Now it is about three women who have each, in their own way, become exactly who they were always going to be.

Miranda is still the most powerful person in any room she enters, but the sequel lets her wear that power with a little more complexity. The Dries Van Noten tassel jacket, the apricot satin trench, the Armani Privé sequin coat in Milan: these are not the clothes of a woman performing authority. These are the clothes of a woman who simply does not need to anymore.

Andy finally dresses like herself. Not for Runway, not for Miranda, not to prove anything to anyone. The vintage Jean Paul Gaultier pinstripe, the geometric maxi on the Hampton Jitney, the Armani Privé bodysuit: she took everything fashion threw at her, kept what mattered, and left the rest. That is a harder edit than any stylist could make.

And Emily. Emily is the one who surprises you. She walked into this film as the villain you love, and she walks out of it in a Coach sweater and a crystal tie, having burned every bridge she needed to light her way forward. Somehow, that is the most stylish thing any of them does.

Together, these three wardrobes do what the best film costumes always do: they tell you the whole story before a single word of dialogue is spoken. The best costume design makes you forget you are watching costume design. This film absolutely qualifies.

As Miranda would say, that is all.

Loved breaking down the fashion in this one? I am not done yet. A full style breakdown of Simone Ashley’s looks as Amira is coming very soon, and trust me, it is worth the wait. Stay tuned.