If you spent your early twenties quoting Miranda Priestly at interns who did not deserve it, consider this your fashion karma: The Devil Wears Prada 2 press tour has officially begun, and it is already delivering the kind of capital-F Fashion that could make even Nigel pause mid eye‑roll. The first stop is Mexico City, where Anne Hathaway and Meryl Streep have turned a simple photo call into a masterclass on how to revisit your most iconic characters without cosplaying yourself.
The stakes are high. The original The Devil Wears Prada turned a cerulean sweater and a pair of Chanel boots into cultural artifacts; two decades later, fans are treating every step of this press tour like a live runway show. The Mexico City events — a daytime stop at the Frida Kahlo Museum and a glittering premiere that night — gave us the first wave of The Devil Wears Prada 2 press tour looks. And yes, they are worth zooming in on.
Why This Press Tour Actually Matters
First, context. The Devil Wears Prada 2, out May 1, brings Streep back as icy Runway editor in chief Miranda Priestly and Hathaway back as former assistant turned power player Andy Sachs. The sequel has to prove it can match the original’s fashion mythology, so the real-world promo tour is doing a lot of narrative heavy lifting before the opening credits even roll.
Streep’s longtime stylist Micaela Erlanger is treating this like her own Met Gala season. She has worked with the actress for 11 years and is plotting upwards of 30 looks across Mexico City, London, New York, and East Asia. The brief is deliciously specific: modern, chic, and somewhere between Streep the human and Priestly the dragon. “This is going to be the most fashion you’ve ever seen her in,” Erlanger revealed in a new interview. Translation for civilians: expect sharp tailoring, editrix shoulders, bold jewelry, and a whole lot of devil red, with a wink of cerulean for the real ones.
On the other side of the group chat is Erin Walsh, the woman behind Hathaway’s recent run of viral Valentino, Bulgari, and Versace moments. If Erlanger is leaning into cool, controlled power, Walsh is steering toward joyful risk — the kind of woman who can close a deal at 10 A.M. and still end up dancing on a banquette at midnight, sequins intact. Together, their Mexico City choices read like a conversation between Priestly and Sachs, updated for 2026.
The Best Devil Wears Prada 2 Press Tour Looks So Far:
Meryl Streep’s Red Dolce&Gabbana Power Suit and Anne Hathaway’s Black Schiaparelli At La Casa Azul
The first official look of the tour, at a daytime event at the Frida Kahlo Museum, is Streep staking her claim. She arrived in a head-to-toe red Dolce&Gabbana suit: pussy‑bow blouse, sharp blazer, and wide-leg trousers that puddle just so over scarlet slingbacks. It is not subtle. It is also a direct nod to the original film’s poster, where a devil’s pitchfork heel became shorthand for the ruthlessness of fashion. Here, that red is worn by the woman who wielded it.
The accessories push it from great to instant‑classic. Erlanger anchored the lapel with brooches from Streep’s own archive, including ribbons from her National Medal of the Arts (a power flex). Priestly’s fictional power meets Streep’s very real accolades, and suddenly this is less costume, more coronation.
If Streep is fire, Hathaway is controlled shadow. For the same La Casa Azul appearance, she chose Schiaparelli: a black western‑style shirt and pencil skirt, cinched with the house’s Eye Bijou belt. Long black heels, nearly invisible rimless sunglasses, and sleek hair keep the focus on that surreal, watchful eye glinting at her waist.
It is a smart move for a few reasons. First, bringing Schiaparelli’s surrealism into Frida Kahlo’s home is a fashion and history crossover episode. Second, the look feels like Sachs 2.0: still practical and clean, but fully in command of her image. That belt says she sees everything now — and she is no one’s assistant.
Meryl Streep’s Midnight Blue Schiaparelli Shirtdress and Anne Hathaway’s Deep Rose Sequined Stella McCartney Gown
For the Mexico City premiere itself, Streep switches into Schiaparelli and gives us the most deliciously editorial Priestly echo yet. The look is a long blue shirtdress with a razor‑sharp collar and belted waist, its front placket lined with gold buttons that double as tiny eyes. On her ears, gold and pearl “teeth” earrings. In her hand, the brand’s mini face bag. She finishes it all with black peep-toe platforms, her hair pulled back into a ponytail, and her signature glasses.
Schiaparelli’s surrealist details do something no on-the-nose “Priestly costume” ever could. The eye buttons and teeth jewelry turn Streep into a walking metaphor for a woman who has built a career on seeing and devouring trends before anyone else. The shirtdress silhouette, though, is relaxed, almost easy. It is Priestly grown up again — still terrifyingly observant, but maybe slightly less interested in chewing you up.
While Streep plays in midnight, Hathaway handles the sparkle quota on the premiere carpet in a Stella McCartney dress from the designer’s Fall 2026 ready-to-wear collection. The gown is a deep rose tone, drenched in sequins so dense they practically hum under flashbulbs. A flouncy hem gives movement, while sheer tights and thigh-high black boots anchor it in something sexier and far more directional than a classic pump would have.
Hair down, center parted, plus a red lip, and suddenly you remember the clumsy girl in cerulean who once tripped through the Runway office. This is that same soul, but with a decade and change of front rows, campaigns, and fashion-girl confidence layered on. Choosing Stella McCartney — a designer synonymous with responsible luxury — is also a neat bit of narrative shorthand for a character who always cared about substance as much as surface.
The Easter Eggs Your Group Chat Is Missing
The beauty of these Devil Wears Prada 2 red carpet looks is how quietly referential they are. You get the obvious hat tips: Meryl Streep in literal devil red, the slingbacks, and Olympia Le‑Tan clutch echoing the pitchfork heel; Anne Hathaway’s sequins nodding to the makeover montage glow up. But the fun is in the smaller choices.
Erlanger talked about “editrix energy” and “maybe a hint of cerulean,” and you can already see the editrix part landing in those strong shoulders and strict buttons. Hathaway’s Schiaparelli belt is its own mini callback to Miranda Priestly’s infamous monologue about how every “little sweater” is actually the product of a thousand micro‑decisions in rooms just like these. Only now, Andy Sachs is one of the women in the room making those choices.
And this is just Mexico City. With London, New York, and East Asia still to come, and more than 30 looks on the mood board, we are barely through the opening credits of this fashion saga. For now, consider your rewatch of the original assigned homework — you are going to want every reference in your back pocket by the time the next red carpet hits.
