Maybe they should have named it The Devil Wears Valentino. For the hotly anticipated sequel to 2006’s most quotable movie, The Devil Wears Prada 2 doesn’t include a ton of its artful Italian namesake. Instead, the summer rom com that “a million girls would kill for” comes packed with Valentino’s Rockstud shoes, Viva Superstar clutches, and even a bottle of Born in Rome perfume that’s placed oh-so-precisely on Lady Gaga’s dressing table during a key dramatic moment.
The swap makes sense for two reasons: One, the late designer Valentino Garavani was an early champion of Anne Hathaway when she was still an emerging actress, and was one of the few fashion stars who agreed to appear in the original film. (Model Gisele Bündchen was the other; Donatella Versace never showed face—she’s in this film, though—but as she wryly told red carpet reporters last week in London, “I gave them my jet.”)
Two, The Devil Wears Prada 2 is not actually a movie about fashion. Instead, the sweet-and-sour workplace comedy is a movie about female ambition that needs to pretend it’s a movie about glamour, because movie studios believe that’s all a commercial chick flick can handle right now. (Memo to the studios: This is not true. Give us more, and we will buy more movie tickets…but probably not more Rockstud shoes, sorry.)
Still, the summer blockbuster hopeful gets in some real inside jabs at the fashion world, thanks to screenwriter Aline Brosh McKenna (Crazy Ex-Girlfriend) and costume designer Molly Rogers, a Patricia Field protégé who handled the Gaultier hauls of Bradshaw & co. on And Just Like That. Thanks to their diligent work, and some very enthusiastic participation from luxury labels like Christian Dior and Dolce & ‘Please Spell Gabbana,’ the film is filled with fashion Easter eggs, along with quite a few pieces you can actually purchase yourself right now.
Scroll through to see the hidden insider fashion moments in The Devil Wears Prada 2, but gird your loins—there are more spoilers in this story than A24’s entire Wikipedia page.
You Can Take the Girl Out of Cerulean, But…
Hathaway’s clever costume template for much of the film involves a “glow up” of her original mousy blue sweater (revived by Meryl Streep and stylist Micaela Erlanger for a recent Late Show appearance) and the woolen plaid kilt from the “hideous skirt convention.” Instead of her rookie Runway outfit, we get plaid chiffon from Christopher John Rogers and knife-pleat skirts from Fendi paired with blue Margiela blazers and fitted oxfords. It’s nice.
… You Can’t Take the Cerulean Off the Girl
Of course, Rogers and her crew couldn’t resist one literal callback: the famous blue sweater does make an appearance, with a few caveats: it’s not the actual original, as that one was stained, if you’ll recall, with corn chowder, though it does live somewhere in storage. Instead, Hathaway herself made alterations to a version of it that shows up in the film, Rogers tells W (if you want the OG, Ralph Lauren still has it.)
Plaid Rules the Day
An early plot point involves Miranda losing face amid a fast-fashion labor scandal. Andy is brought in to right the Runway ship. She’s doing it in a Fendi skirt and a sheer plaid polyester top that looks like a cross between the Acne Studios Denise Turtleneck from 2025 and a KNWLS Halcyon Top from 2026. According to Rogers, it’s simply “something vintage.”
Dior Gets the Logomania Treatment
As a rising corporate star at Christian Dior, Emily Blunt is a living lookbook for the brand’s recent past. She blazes her way through the movie wearing a black leather harness dress by Maria Grazia Chiuri, a men’s logo shirt from Kim Jones and the late punk designer Judy Blame, and a hoodie from John Galliano’s coveted 2000 newsprint collection (which came out before co-star Helen J. Shen was even born). There is a logo-decked scene at Dior’s New York office and a tour through the brand’s new-ish Manhattan boutique, including its famed rainbow staircase, which Emily leads while wearing a $500 logo scarf (and a pair of Gaultier overalls, but don’t tell Jonathan Anderson).
Coach Gets the Nod
At the beginning of the film, Andy carries a beat-up vintage black Coach briefcase. That’s at least until her reintegration into the cult of Runway, which calls for a quilted Chanel bag. Meanwhile, after Emily is booted from her perch at Dior due to some backhanded anti-Miranda sabotage, she lands at—yep—Coach. “Coach is fine, I mean, it’s fine,” says Blunt, while wearing a runway sweater by Stuart Vevers and glaring at Hathaway with the force of a thousand flashbulbs. It’s more than fine—the sweater is great. Everybody, calm down.
Tank Watches Win This Round
Tiffany & Co. gets dedicated airtime thanks to a subplot involving Emily and a smitten, hapless billionaire, played pretty brilliantly by Justin Theroux. But Runway is a Cartier workplace, with both Miranda and her assistant, Amari (Simone Ashley), wearing Tank watches, and, in Ashley’s case, gold-plated nail bracelets.
The Tilbury Paradox
L’Oréal may have waged an inescapable (and truly charming) campaign connected to this film, but at the beginning of the movie, Andy smears on a protective coat of Charlotte Tilbury’s Pillow Talk lipstick before heading to face Miranda for the first time in decades. In future scenes, Emily Blunt and even Meryl Streep appear to wear the exact same shade, making their onscreen spats the makeup equivalent of that Spider-Man meme where everyone’s pointing fingers in identical costumes.
Miranda Priestly Gets Something Wrong
In the film, she dares to insult Marc Jacobs’s fall 2025 collection to the designer’s face. Marc Girls, we ride at dawn.
Backstage at the Marc Jacobs show for Fall 2025 held at the New York Public Library
The Milan Fashion Week Montage Is Real
At the climax of the film, the Runway crew attends real catwalk events by Dolce & Gabbana, Brunello Cucinelli, and more. Look closely, and you can see fashion insiders like Moda Operandi founder Lauren Santo Domingo and model Heidi Klum in the scrum, along with real-life publicists.
Miley’s Dress Got Borrowed for the Shoot
In 2019, Miley Cyrus wore a one-of-a-kind 2010 Jean Paul Gaultier couture dress to the Grammy Awards. Rogers got hold of it and used it on Simone Ashley as her character enters the (fictional) Met Gala.
Nobody Follows the Met Gala Theme In This Universe, Either
Speaking of the Met Gala, although the theme is “Spring Florals”—actually groundbreaking!—guests like Ashley Graham, Ciara, and Karolína Kurková are wearing fantastically poufy couture instead of reconstructed calla lilies. Meanwhile, Streep arrives in a blood-red Balenciaga gown that seems more inspired by murder than a stroll through the botanical gardens.
The Millennial Cat Eye Is Still Chic
Along with Rick Owens and the Galliano newsprint hoodie, Emily wears a dagger-precise cat eye for most of the movie, courtesy of makeup artist Nicki Ledermann. Despite recent discourse that the look is dated, the effect is mesmerizing.
Indie Creatives Get a Tiny Break
Although most of the movie is dominated by mogul luxury labels, some independent designers do get to shine. There’s a real wow moment with Gabriela Hearst’s Niki Patchwork dress from summer 2025, a shoutout to Toteme’s “quiet luxury linens,” and a peek at Monse’s UFO-print tapestry dress. There is also a minor plot point involving the British painter Cecily Brown; you can read up on her here!
One of the Most Expensive Things in the Movie Is a T-Shirt
When Andy is dragged from her bed by Miranda Priestly, she’s sleeping in a Björk t-shirt from the singer’s 1995 album Post. But these vintage t-shirts are nearly impossible to find, and real ones like Andy’s cost about $4,000 from resale vendors. That’s about the same as an actual Prada bag.
