Yes, it’s very early.
And yes — we’re already arguing about eyebrows.
Because some cultural phenomena are fashion events. Others are emotional baggage set to couture. And a few are Runway Magazine obsessions with pogonotrophy — that is, eyebrow grooming.
In the vast cosmos of fashion sequels, few things are as mysterious and deeply symbolic as eyebrows that refuse to leave the room.
Welcome to The Devil Wears Prada 2 — where power suits speak louder than speeches, and raised arches may very well be the most honest punctuation mark in the entire screenplay.
Yes. The film still revolves around Runway Magazine — a place not merely of clothes, but of ambition, architectural tailoring, and emotional hem-control.
If you thought couture was the main event—think again.
Turns out the sharpest tool in this sequel isn’t a Dior blazer, a Schiaparelli shoulder pad, or a Balenciaga sculptural hem.
It’s the eyebrows.
Yes. The Devil Wears Prada 2 is back, and the brows have their own lighting setup.
20 Years Later: Wrinkles? Maybe. Eyebrows? Timeless.
Set for release on May 1, the highly anticipated sequel brings back everything we loved about the original: existential breakdowns in Armani, fashion closets that deserve their own IMDb credit, and Runway magazine as the center of the fashion universe.
Also returning:
- The original cast,
- The original tension,
- And possibly one very traumatized Gabriela Hearst waistcoat.
Let’s break it down.
The Cast That Doesn’t Age—They Just Upgrade
Anne Hathaway is back as Andy Sachs, looking like she just walked out of a vintage Sacai sample sale and solved global fashion journalism at the same time. Think Jean Paul Gaultier pinstripe suits, Gabriela Hearst tailoring, and enough quiet judgment to power Manhattan.
Meryl Streep, as Miranda Priestly, returns with her signature Lanvin intensity, shoulder pads that could cut glass, and a single nod that still doubles as a corporate restructuring.
Emily Blunt, reprising her role as Emily, is now a fashion executive. Same red bob, new Dior command energy. She doesn’t walk into rooms—she discredits people with her eyes and leaves them asking for feedback.
Stanley Tucci as Nigel is exactly what we hoped: swaddled in couture, possibly telepathic, and still speaking fluent silk.
The Closet That Launched a Thousand Nervous Breakdowns
The Runway Magazine fashion closet has once again opened its golden doors—and this time it’s overflowing with everything:
- Balenciaga gowns custom-fitted to world domination.
- Phoebe Philo minimalism that screams ‘I’ve seen things.’
- Rabanne sparkle, Schiaparelli exaggeration, and Armani gravitas.
- Even Ulla Johnson suits and pleated khaki so precise they’re probably password-protected.
And yes, that one perfect summer shirt from TWP has returned. It’s apparently a metaphor now.
© Backgrid USA / Bestimage / Getty Images
Costumes Are Still the Dialogue
Every look in this film speaks louder than the script.
You’ll see couture that negotiates, skirts that threaten, and eyebrows that seal the deal.
Menswear-inspired silhouettes on Andy signal emotional depth, career clarity, and an unspoken warning to interns: do not ask her to fetch coffee.
Emily, meanwhile, dresses like a luxury merger: all Dior, no mercy.
And Miranda? Her archival Gaultier, Lanvin, and sculptural Balenciaga combinations say, “I know what you wore last season, and I’m still not impressed.”
Eyebrows: The Unofficial Editorial Team
Let’s not pretend.
These eyebrows are:
- Well-groomed weapons
- Legacy indicators
- And possibly under exclusive contract with Runway Magazine
They arched in 2006.
They arch again now.
Some say they were never lowered.
They are untouched by time, TikTok, or trends. They hold secrets. They judge. They remember.
They are not nostalgic.
They are not rebranded.
They are Runway.
© Backgrid USA / Bestimage / Getty Images
The Devil Wears Prada 2 Is Not a Reboot. It’s a Recitation.
It speaks fluent fashion.
It walks in silence, covered in Lanvin, lit by Backgrid, framed by Runway.
It doesn’t ask if it’s relevant — it tells you what’s relevant.
It reminds us that couture is a weapon, fashion is a strategy, and Runway Magazine is the only fictional publication powerful enough to be more influential than half the real ones.
So Yes — They’re Back
The cast.
The closet.
The couture.
The eyebrows.
Some will inevitably say Vogue, Vogue, Vogue.
Others will reach for convenient references.
Oh no. RUNWAY.
The trailer is coming. The film hits May 1.
And Runway Magazine never left — it just raised one brow, and waited for the rest of culture to catch up.
