When The Devil Wears Prada was released in 2006, there is a moment Andy Sachs (played by ,) steps into the world of fashion magazines and realises just how much she does not belong.
It is played for effect, but the shift it captures, from newsroom to glossy pages, is one I know all too well. I made the same move, from newspaper journalism to features editor at Vogue Arabia, the regional version of the publication that inspired Runway.
The sequel picks up 20 years later, with Andy winning a prestigious journalism award, only to find out that her entire newsroom has been laid off. Print publications are folding and budgets are being slashed across the industry. As one former colleague seeks financial stability by ghostwriting a memoir (for Paris Hilton’s chihuahua), Andy rejoins Runway as features editor, excited by the prospect of bringing stories with depth and meaning to the magazine.
When she steps back into the glamorous offices of the magazine to start this new chapter in her career, she learns that Runway isn’t exactly the coveted, glossy fashion Bible it once was. It has been, as Nigel (played by Stanley Tucci) explains, reduced to snappy content that’s scrollable on a phone while sitting on the toilet.
Realities impacting print media are depicted quite accurately, such as the need to digitalise to survive and the fact that publications are often beholden to advertisers. Alas, a four-page story on a new Dior boutique opening is never written out of sheer admiration for the brand.
Emily Blunt returns, having exited Runway to work at Dior, while Bridgerton’s Simone Ashley plays Miranda’s new assistant. The cast is further bolstered by cameos galore, from Lady Gaga to fashion personalities including Law Roach and Donatella Versace.
As expected, clothing is bold and impactful, from Streep’s showstopping red gown to her soft, yet powerful grey skirt suit, while Hathaway’s journalist-coded costumes are peppered with personality (such as the myriad ties and a thrifted Margiela blazer she scored for $11).
There are also plenty of witty – often bordering on snide – references to brands such as Valentino, Dolce and Gabbana and Coach that will resonate with fashion-loving viewers.
The focus on luxury undoubtedly draws many fans to the film, particularly in this part of the world, where women have a heightened appetite for designer brands. Hathaway’s casual utterance of "inshallah" during an interview on her press tour amplified her popularity among the Muslim demographic, and one fan even gifted her a Quran at the London premiere of the film.
But viral moments aside, for some, the mass promotion and hyper-commercialisation of the film has overshadowed the already enticing storyline.
There’s a certain sense of aspirational appeal in watching a young woman try to thrive in the cut-throat world of luxury fashion. It doesn’t need to be overwrought; the licensing deals, merch, marketing gimmicks and celebrity reels risk tipping a moment from hotly anticipated to overexposed and off-putting.
And although the movie seems to have all the expected components of a hit, it lacks the mic-drop bits of dialogue that became so famous in the first film. While Miranda delivers some humorous, off-colour comments, they aren't anything you’d print on a T-shirt.
Storytelling, in this sequel, seems to trump scripting. Still, it’s both enjoyable and entertaining, with the same ingredients that captivated viewers 20 years ago – updated with topical takes and trends, from Ozempic and egg-freezing to gorpcore fashion.
What doesn’t get an update is the familiar, tyrannical-boss narrative, with the protagonist still bending over backwards to appease her. Hathaway has proven her prowess in embodying the geek-to-chic protagonist (from Princess Diaries to The Devil Wears Prada), but it’s disappointing to see her character still flustered around Miranda, despite years of experience now under her belt.
There’s a certain idolisation of Miranda that is upheld and pedestalled, no doubt inspired by the real-life industry titan she was inspired by: Anna Wintour, the global editorial director of Vogue. The staple sunglasses, essential to Miranda's wardrobe, are a dead giveaway, and yes, Wintour really does wear these indoors (at least, she did during her visit last year to the regional office in Dubai).
The May 2026 cover of Vogue even features Streep alongside Wintour, and earlier this week, The Vogue Book Club hosted a screening of the film in New York, which was attended by many of Wintour’s former assistants.
Although some scenes acknowledge the changing landscape of print media, overall, the movie still centres on the institutional legacy of a fashion magazine. As these publications lose cultural currency, the story might seem dated to viewers who don’t understand the habit of hoarding monthly issues, and who don’t share the nostalgia attached to the first film.
One character bluntly states, “A day is coming when Runway won’t need models or designers, it’ll all be AI.” In another scene, Hathaway gives an impassioned monologue about the constant downsizing and whittling down of publications. “We can’t keep sucking the soul out of everything,” she laments.
Might sound idealistic, but it’s a sentiment strongly shared by this particular writer. As these tangible style books risk losing relevance, The Devil Wears Prada 2 is a cinematic tribute to the fashion magazine before it becomes a relic.
The Devil Wears Prada is now in cinemas in the UAE
