Miranda Priestly in Dries Van Noten. Andy in Phoebe Philo and Gabriela Hearst. Emily Charlton in Rick Owens. And Simone Ashley as the film's breakout style star. Here is every outfit from The Devil Wears Prada 2 — and exactly where to shop each one, at every budget.
The Devil Wears Prada 2 opened May 1, 2026. It has grossed $239 million worldwide in its first week. The search traffic for every outfit in it is enormous right now and will remain elevated for the next four to six weeks.
This is the complete outfit guide — every character, every key look, the exact pieces, and where to find them at three price points: the designer original, a similar-aesthetic alternative, and a budget option that gets you to the same silhouette.
Costume designer Molly Rogers — who took over the mantle from Patricia Field — built each character's wardrobe around a single question: who are they now? That question is the most useful guide for shopping these looks. You are not just buying a piece from a film. You are dressing like a specific version of a specific woman at a specific point in her career.
The Four Characters, Explained
Before the shopping guide, the context — because Rogers' wardrobe decisions are deliberate enough that understanding them changes how you wear the pieces.
Miranda Priestly (Meryl Streep) is a woman whose power is being quietly threatened for the first time. Her wardrobe responds: cleaner silhouettes, less armor, more authority in restraint. The maximalism is gone. What remains is command.
Andy Sachs (Anne Hathaway) is now Runway's Features Editor — she has arrived. Her wardrobe reflects the confidence of someone who no longer needs to prove she belongs. She buys what she wants, wears it with ease, and doesn't explain herself.
Emily Charlton (Emily Blunt) is a senior executive at Dior. She has become the most dangerous version of herself: ice-cold, technically impeccable, with an edge that the first film's character could only gesture at. Her wardrobe is the fashion industry's version of a weapon.
Amari (Simone Ashley) is Miranda's new first assistant — the film's breakout style character, and the most underwritten role in every other shopping guide. She dresses like someone who has studied every great fashion era and decided to wear all of them simultaneously. She is the most fun to shop.
Miranda Priestly — Meryl Streep
"Very clean silhouettes. Nothing shouts." — Molly Rogers on Miranda's wardrobe philosophy
Miranda's wardrobe in the sequel has a single operating principle: restraint is power. Where the first film gave her maximalist armor — the fur, the sweep, the grand entrance — this one gives her precision. She does not need the armor anymore. She is the room.
The dominant house is Dries Van Noten, which Rogers chose for its ability to be simultaneously quiet and extraordinary. A tassel jacket in a room full of men's suits does not shout. It simply makes every other garment in the room irrelevant.
The Dries Van Noten Tassel Jacket
The most talked-about Miranda piece. A multicolor tassel-adorned jacket worn in a boardroom scene — the tassels doing exactly what Rogers intended: marking Miranda as an editrix in a room of executives who have forgotten what an editrix looks like.
- Exact: Dries Van Noten Multicolor Tassel Tweed Jacket — Dries Van Noten stockists or The RealReal/Vestiaire for archival pieces
- Similar: Etro or Missoni intarsia knit blazers carry the same spirit of controlled maximalism within a tailored silhouette
- Budget: A solid structured blazer in a neutral + a tassel-trimmed scarf tied at the lapel achieves the editorial without the price
The Custom Balenciaga Red Gown
The film's single most dramatic Miranda look: a custom-made Balenciaga red silk super taffeta gown. Floor-length, architectural, deeply red. It is not available to buy and it was never going to be — it is a one-of-one. But the silhouette is shopable.
- Similar silhouette: Alexandre Vauthier or Rasario do structured red gowns with comparable impact at a fraction of couture pricing
- Budget: ASOS Edition and Reformation both carry red floor-length structured silhouettes that land the look's essential argument
The Dries Van Noten Grey Pearl-Embellished Coat
A grey coat with pearl embellishment — worn in a scene that requires Miranda to be simultaneously vulnerable and completely in control. The coat does that work without trying.
- Exact: Dries Van Noten stockists — Net-a-Porter, Matches, Browns
- Similar: Toteme or Cos for the grey coat silhouette; add pearl-pin embellishment yourself if needed
- Budget: M&S and & Other Stories both have structured grey wool coats this season that carry the same tonal authority
Accessories: The Miranda Formula
Miranda's accessories are as deliberate as her clothes. In the sequel: Chanel messenger bags (not the 2.55 — the less obvious messenger), Bottega Veneta Andiamo, Jimmy Choo black cateye sunglasses, and the Dellaluna grey maxi clutch. The pattern is: heritage without the obvious logo, precise without being flashy. The Bottega Andiamo is the single most shoppable Miranda accessory — it is in stock, it is wearable outside a film context, and it communicates exactly what it is supposed to communicate.
Andy Sachs — Anne Hathaway
Andy's wardrobe in the sequel is the purest expression of the "quiet luxury" aesthetic currently dominating fashion — but with enough specificity to avoid becoming generic. Rogers built her looks around a woman who now buys from the designers she once only styled for, and wears them like she always has.
The wardrobe anchors are: Phoebe Philo (the white tee that became one of the film's most-discussed single items), Nili Lotan (the barrel-leg denim that launched a thousand search queries the week the trailer dropped), Gabriela Hearst (the patchwork dress, the pinstripe set), and Sacai (the pleated skirt that does the most interesting structural work in the wardrobe).
The Phoebe Philo White Tee + Nili Lotan Denim
The look that broke the internet before the film released: an all-white moment anchored by a Phoebe Philo tee tucked into Nili Lotan barrel-leg denim. No jewelry. Minimal styling. Absolute confidence.
The Phoebe Philo tee is a Phoebe Philo tee — it costs what it costs, available at phoebephilo.com. The Nili Lotan denim is similarly priced. But the look is a formula that works at any price point: an impeccable white tee (fit is everything) + a wide-leg or barrel-leg trouser in a neutral. The formula is the look.
- Exact: Phoebe Philo.com + Nili Lotan at Net-a-Porter or Ssense
- Similar: Toteme scoop-neck tee + Agolde '90s pinch-waist denim
- Budget: Uniqlo supima cotton crew-neck + & Other Stories or Arket wide-leg trouser
The Gabriela Hearst Patchwork Maxi Dress
The most editorial single piece Andy wears — a patchwork embroidered linen maxi dress that signals "I have been to exactly the right amount of farmers markets in the South of France." It is an extremely specific kind of luxury: the kind that looks expensive and completely effortless simultaneously.
Styled with: Amor Y Mezcal bucket hat, Chloé platform sandals, Marlo Laz beaded necklace, Fendi Zucca basket tote.
- Exact: Gabriela Hearst at Net-a-Porter or the brand's site
- Similar: Dôen or Zimmermann for patchwork/embroidered linen at a similar price point with slightly more availability
- Budget: Anthropologie and Free People both carry embroidered maxi dresses that land the boho-luxe register without the Hearst price
The Sacai Pleated Skirt
The most structurally interesting piece in Andy's wardrobe — a Sacai pleated pocket-detail skirt worn with a simple white shirt. The skirt does everything: the pleating creates volume and movement, the pocket detail makes it fashion rather than basic, the pairing with a white shirt makes it wearable.
- Exact: Sacai at Dover Street Market, Ssense, or mytheresa
- Similar: Noir Kei Ninomiya or Comme des Garçons for a similar pleated-structural aesthetic; Isabel Marant for a more accessible version
- Budget: Zara and Mango both carry pleated midi skirts with detail work that execute the silhouette at a fraction of the price
The Vintage Jean Paul Gaultier Suit
A razor-sharp vintage Gaultier suit that establishes Andy's authority in one scene. This is not shoppable new — it is vintage, which is the point. The search terms you want: "vintage Jean Paul Gaultier blazer" on Vestiaire Collective, The RealReal, or 1stDibs. The silhouette is a sharp single-button suit in a muted tone.
- Vintage original: Vestiaire Collective, The RealReal, 1stDibs
- Similar: Frankie Shop or Toteme for sharp tailoring with a similar clean authority
- Budget: Zara, H&M Studio, or COS for single-button blazer + tailored trouser in a neutral
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Emily Charlton — Emily Blunt
Every costume team member fought over who got to dress Emily — and the result is the most consistently exciting wardrobe in the film. Rogers described her inspiration as Kate Moss: "messy, fierce, too cool, a bit dangerous." The result is fashion that looks like it was thrown on by someone who cannot be bothered to try and is somehow more intimidating for it.
Emily is now a Dior executive. Her wardrobe reflects that — Dior pieces sit alongside Rick Owens and Vivienne Westwood and vintage Gaultier in a wardrobe that says: I know every rule, and I wear exactly what I want.
The Rick Owens Gold Metallic Bustier
The film's most Rick Owens piece — a gold metallic strapless bustier top with a vintage gold mesh apron. It is aggressive, it is precise, it is exactly what a Dior executive who was once a fashion assistant to Miranda Priestly would wear to a meeting where she intends to win.
- Exact: Rick Owens at his flagship, Net-a-Porter, Ssense, or Farfetch
- Similar: Jitrois or MISBHV for a similarly aggressive metallic silhouette at lower price points
- Budget: ASOS Design or Missguided for metallic bustier tops that carry the structural argument at high-street pricing
The Dior Houndstooth Sequin Co-ord
A Dior black-and-white houndstooth sequin blazer paired with matching mini skirt — the film's clearest statement that Emily has arrived somewhere specific and intends to be noticed there. The sequin treatment over a classic houndstooth is a Dior signature under Maria Grazia Chiuri: heritage pattern, contemporary surface.
- Exact: Christian Dior boutiques or Dior.com (seasonal availability)
- Similar: Self-Portrait or Rotate Birger Christensen for sequin co-ords with comparable occasion impact
- Budget: River Island and ASOS frequently carry sequin blazer + skirt co-ords in classic patterns
The John Galliano 2000 Newsprint Hoodie
The single most archival piece in the film — a hoodie from John Galliano's 2000 newsprint collection for Dior. It is not available anywhere new. It sells for significant money when it appears in vintage markets because it is a grail piece.
This is a "know that it exists" entry rather than a shop-it entry. If you want the energy of the look — archival streetwear silhouette from a major fashion house worn with total nonchalance — the current Galliano for Margiela is the closest new-market equivalent.
- Vintage: 1stDibs, Vestiaire Collective, What Goes Around Comes Around
- Energy equivalent: John Galliano for Maison Margiela current season at Ssense or Browns
The Zimmermann Green Leather Capelet
A standout single piece in Emily's wardrobe — a Zimmermann green leather capelet worn over a sharp base layer. The capelet is not an obvious choice. It is exactly right.
- Exact: Zimmermann at Zimmermann.com, Net-a-Porter, or boutiques
- Similar: Stand Studio or Remain Birger Christensen for leather outerwear pieces with a similar edit-able quality
- Budget: ASOS Leather Look or Mango's leather-look range for capelet shapes this season
Amari — Simone Ashley
Every other shopping guide undercovers Amari. This is a mistake. Simone Ashley's wardrobe is the film's most energetic fashion presence — an assistant who dresses with more range, more commitment, and more archival knowledge than anyone else on screen. Elle India called her the breakout style star. Tatler Asia agreed. The search volume for her outfits is rising faster than any other character's week on week.
Amari cycles from razor-sharp Thom Browne tailoring to Jean Paul Gaultier couture to a neon orange ruffle skirt that has no business being as good as it is.
The Thom Browne Tailoring
Amari's professional register — sharp Thom Browne tailoring in grey, the house's signature cropped proportions, precise to a degree that communicates: I am not here to blend in.
- Exact: Thom Browne at thombrowne.com, boutiques, or Ssense
- Similar: Toteme or A.P.C. for restrained tailoring with strong proportion work at more accessible price points
- Budget: Arket, COS, or Selected Femme for cropped, structured blazer shapes in neutral tones
The Jean Paul Gaultier Archival Couture Look
Amari's most spectacular moment — an archival Jean Paul Gaultier couture look that the film does not explain, because it does not need to. The look exists. It is extraordinary. Amari wears it as if she owns it.
- Vintage Gaultier: Vestiaire Collective, The RealReal, 1stDibs
- Current Gaultier: Jean Paul Gaultier.com — the house currently sells its couture archives as ready-to-wear
The Neon Orange Ruffle Maxi Skirt
The look with the most social media traction of any Amari outfit — a neon orange maxi skirt with a massive peplum ruffle, grounded with an impeccably tailored white high-neck tee. The contrast between the volume of the skirt and the precision of the top is the entire argument.
- Similar: Valentino's neon collections have done this territory; Christopher Kane or Molly Goddard for ruffle-volume skirts in statement colors
- Budget: Zara's ruffle-skirt range this season; ASOS has neon maxi silhouettes that execute the volume
The Stella McCartney Met Gala Look
Within the film's narrative, Amari attends the Met Gala in a Stella McCartney creation with cascading silver crystal chains — designed to make Miranda's new assistant visible in the most fashion-saturated room in the world.
- Similar: Stella McCartney at stellamccartney.com for the house's current crystal embellished pieces
- Budget: Retrofête or Bronx and Banco for embellished statement looks at accessible luxury price points
The Cerulean Sweater — Then and Now
No outfit guide for this film is complete without it.
Molly Rogers said the cerulean sweater was the first call she made to 20th Century Studios after reading the script: "I have to put the cerulean blue sweater in 2." Director David Frankel agreed immediately.
Rogers tracked down the original sweater from the archives — complete with the corn chowder stain from the first film. She had a new version made, then deconstructed it: raw edges, lopped sleeves, transformed into a sweater vest. The reference is there. The object has been updated. It is, in Rogers' words, a nod to Margiela.
The cerulean sweater vest is not available to purchase. What you can buy: any cerulean blue knit vest and treat it with the same conviction. The color is the point. The confidence is the point. Those are both free.
What This Film Gets Right About Dressing for Power
The original Devil Wears Prada taught a generation that fashion is serious. This sequel teaches something more nuanced: that the way you dress changes as your power changes, and the women who dress most effectively are the ones who understand exactly who they are at this specific moment.
Miranda has stopped performing power. She simply is it. Andy has stopped trying to belong. She simply does. Emily has stopped being afraid of being too much. She simply wears what she wants. Amari has not yet decided who she is — which is why her wardrobe is the most exciting one in the film.
Shop the looks. But more usefully: borrow the framework.
Related: Met Gala 2026 Best Dressed: Every Look Ranked · Beyoncé's Crystal Skeleton Gown Explained · Kendall Jenner Gap x Zac Posen Breakdown
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