Our Honest Review of The Devil Wears Prada 2 ⭐️⭐️⭐️

Image Credit: 20th Century Studios

When a sequel to a cult classic is announced, it rarely arrives with excitement alone. More often, it feels like a calculated move, another attempt to monetise nostalgia, dressed up in bigger budgets and louder marketing. And audiences, by now, know how this story usually ends. And this is why I showed up to the film preview screening with low expectations.

The original defined a cultural moment, capturing the intersection of fashion and film with precision, wit, and a world that felt as aspirational as it was unforgiving. Revisiting it two decades later comes with its own expectations, and the lead-up to this sequel, with fashion-first promotions and scale, only heightened the sense that this might lean more towards a cash grab gimmick. But that’s what makes The Devil Wears Prada 2 such a surprising watch.

The Cast

The lead cast returns with Meryl Streep as Miranda Priestly, Anne Hathaway as Andy Sachs, Emily Blunt as Emily Charlton, and Stanley Tucci as Nigel Kipling. But neither of them look like they have aged a day. Emily Blunt returns with a reprisal, while Stanley Tucci’s Nigel finally gets the redemption he deserved. A new cast would have otherwise felt like overkill, but Simone Ashley makes a strong impression as Miranda’s assistant and feels like a natural next-generation version of her. The cast also includes Justin Theroux, Lucy Liu, Kenneth Branagh, B.J. Novak, and others. The cameos are constant, so much so that tracking them could pass for a drinking game.

Plot and Overview

Directed by David Frankel, returning to the world he defined twenty years ago, the film runs for 1 hour and 52 minutes. The film is set twenty years after the original and brings us back into the world of Runway magazine, now struggling to stay relevant in a changing media landscape. Miranda Priestly is back and as cold as ice as the first time we saw her; she is no longer untouchable. The world around her has shifted: print is dying, influence is fractured, and power now feels like a barter deal. Andy, now more experienced at a daily newspaper, mirrors that success with a cost. She is pulled back into Runway as a features editor to help repair its reputation after a major scandal. At the same time, Miranda Priestly is dealing with corporate restructuring, new leadership pressures, and the possible sale of the magazine to a tech billionaire.

The dialogue retains its wit, and there are flashes that land with Andy’s “I used to have your job” carries a sense of full-circle irony, while Nigel’s dry remark about “what TJ Maxx dragged in” briefly recalls the film's sass. Miranda’s clipped cadence remains intact, with lines that reduce power to a sentence with variations of “That’s all” and her controlled dismissals that can still make Andy quake in her boots. However, there’s no attempt to outdo the original. Instead, it opts to gloss over the real state of fashion journalism, enhanced by the real yet witty situations that made the prequel so iconic. 

Our Verdict

⭐️⭐️⭐️

"The plot lacked a strong backbone and, at times, felt a little slow—peppered with subtle nods to the original that leaned more nostalgic than impactful. Andy didn’t quite feel like herself either; her character came across softer, almost diluted. One of the biggest shifts was in how the fashion industry’s power dynamics were portrayed—far more equal than before. It was interesting, yes, but also a departure from what we’ve always associated with this world.

That said, the second half—set in Milan—is where things finally started to click. It felt closer to the spirit of The Devil Wears Prada, with a stronger sense of fashion and storytelling coming through. But Miranda… let’s be honest, she wasn’t the Miranda we remember. Her character felt subdued, and her dynamic with Andy came across a little too familiar. The standout for me? Emily. Absolutely. Watching the assistants come together felt like a genuine win. Nigel’s role was expanded, which was great, but I still wanted more—more closet moments, more fashion highs.

Overall, while the film attempts to address new-age journalism, as a millennial, I couldn’t help but crave the original tension—the commanding presence of Miranda, the hierarchy, the bite. Imagine Andy running her own magazine with Miranda working under her—that would’ve been something. I also missed the little things: Nate, more office chaos, the closet scenes, those iconic Chanel boot references, exclusive guest lists, frantic coffee runs, the twins, and those impossible tasks that defined the original.

What the film does capture well, though, is today’s reality—how investors and advisors now drive decisions, how numbers dictate creativity, and how staying original is harder than ever. Miranda agreeing to this shift feels unlike her, but also very real. The harsh truth? Writers and editorial voices are often the first to go when budgets tighten. At its core, it becomes a story about holding onto your voice in a world driven by numbers and relevance. Was this a reflection of how fashion journalism has evolved? Definitely. But maybe we’re still holding onto what it once was.

It’s still an interesting watch—and one I’d revisit for the smaller nuances, especially its take on industry shifts like inclusivity, body positivity, and the accessibility of luxury through the second-hand market. But I can’t help it—the first film just hit differently. That's all..." — Arushi Sakhuja, Founder, The Style List

Grand Sets

Visually, the film is polished and appealing. The cinematography has a glossy, high-fashion look that matches the world of Runway. The setting moves between New York and Milan, with scenes showing the Manhattan skyline and iconic spots like the Galleria Vittorio Emanuele II in Milan. The Runway office feels updated but still familiar, keeping a connection to the original film. In New York, Runway’s office is sleeker, more corporate, with glass open layouts and sharper lighting. When the movie moves to Milan, it moves through historic buildings, hotel interiors, and fashion week venues like palazzos and grand corridors.

The Fashion

The fashion is a major highlight, with designer outfits and styling that feel aspirational and visually rich. Costume designer Molly Rogers shifts the film away from overt fashion fantasy into something more silhouette-driven. Andy’s wardrobe reflects that change. There’s a move towards structured tailoring and vintage-led pieces being more considered, mirroring where she is in her career. There’s added glamour from Giorgio Armani, while Balenciaga brings in a sharper, more experimental edge. To round it off, Bottega Veneta and Loewe add a modern luxury feel, with Ralph Lauren and Zadig & Voltaire showing up in more casual moments.

Prada leads the overall aesthetic, while Schiaparelli brings in bold, statement pieces. Couture plays a big role through Valentino Garavani, especially in accessories, while Dior shapes Emily’s sharper, more powerful look. Miranda stays within her established codes: sharp coats, controlled silhouettes, nothing excessive. The authority is still there, just more contained. Her wardrobe leans into clean, minimal power dressing with Celine. Andy, on the other hand, reflects a more relaxed and modern style with labels like Khaite and Kallmeyer.