Ferry Irwandi
The cinematic landscape of 2026 is set to witness the return of one of the most formidable figures in fictional fashion history, Miranda Priestly, as production for the highly anticipated sequel to the 2006 classic, The Devil Wears Prada, moves into its final stages. While the original film served as a definitive time capsule of the mid-2000s New York City publishing world, the sequel—currently referred to as The Devil Wears Prada 2—aims to navigate the complexities of a modernized, albeit struggling, media industry. Central to this narrative evolution is a shift in scenery that takes the cast from the familiar streets of Manhattan to the opulent villas of Lake Como and the historic corridors of Milan, reflecting a world where the prestige of print media faces the stark realities of digital disruption and corporate austerity.
Production designer Jess Gonchor, a veteran of the original production, has returned to oversee the visual language of the sequel. According to Gonchor, the objective was to retain the DNA of the first film while escalating the scale and sophistication of the locations to match the contemporary setting. The narrative follows Andy Sachs, portrayed by Academy Award winner Anne Hathaway, who returns to Runway magazine not as the beleaguered assistant of her youth, but as a seasoned journalist serving as the publication’s features editor. Meryl Streep reprises her role as Miranda Priestly, the indomitable editor-in-chief of Runway, who must now defend her legacy in an era where even the most powerful figures in fashion are forced to make concessions, such as flying commercial rather than private.
The Evolution of the New York City Landscape
The original 2006 film was celebrated for its authentic portrayal of a specific New York era, utilizing locations like the Elias-Clark building and various West Village landmarks. In the two decades since, the city has undergone significant architectural and cultural shifts. Gonchor noted that filming the sequel in New York presented new challenges, primarily due to the rise of social media and the film’s established cult status. Unlike the 2005 production, where the crew could operate with relative anonymity, the 2024–2025 filming schedule was frequently met with large crowds of spectators alerted by real-time social media updates.
One of the most prominent returning locations is the American Museum of Natural History. In the first film, the museum’s steps served as the backdrop for a high-stakes benefit gala. In the sequel, the production returned to this iconic site to film an analog to the Met Gala, a scene that required managing hundreds of onlookers who gathered along Central Park West. The production team utilized this organic energy to simulate the frenzy of a modern red-carpet event, blending the real-world "mob scene" with the scripted chaos of the film.
The sequel also incorporates modern New York developments that did not exist during the original filming. Scenes were captured at Hudson Yards, the massive mixed-use development on Manhattan’s West Side, which serves as a visual marker for the city’s 21st-century corporate aesthetic. Furthermore, the production secured exclusive access to the new Dior flagship store on 57th Street and Madison Avenue prior to its official public opening. This multi-level showroom provided a "visual feast" for a pivotal scene involving Emily (Emily Blunt), who has transitioned from the publishing world into high-end luxury retail.
Recreating the Elias Grace Infrastructure
A central element of the franchise’s lore is the internal world of Runway’s parent company, Elias-Clark (now referred to as Elias Grace in the sequel). While the original film utilized various Manhattan office spaces to create the magazine’s sleek, intimidating headquarters, the sequel faced the task of updating these environments for a new generation.
One of the most discussed sets is the Elias Grace cafeteria. In the original film, the cafeteria was the site of Nigel’s famous "corn chowder" critique. For the sequel, Gonchor sought to replicate the aesthetic of modern media offices, specifically the Condé Nast cafeteria designed by Frank Gehry. Due to logistical constraints, the production did not film inside the actual Condé Nast offices. Instead, Gonchor’s team transformed a large, light-filled meeting room within the McGraw Hill building into a heightened version of a corporate dining hall. The set was outfitted with custom registers, counters, and high-end furniture to evoke the "spiral staircase and big windows" aesthetic associated with elite publishing houses.
The production also took advantage of the Waldorf Astoria New York’s recent multi-year restoration. The legendary hotel, which had been closed for approximately six years for extensive refurbishments, allowed the film crew access to its iconic lobby shortly before its grand reopening. The grandeur of the restored Waldorf serves as a backdrop for high-level industry meetings, reinforcing the film’s theme of "old-world" prestige attempting to survive in a "new-world" economy.
The Italian Arc: Milan and Lake Como
In a departure from the first film’s climax in Paris, the sequel’s narrative crescendo takes place in Italy. This geographic shift reflects the globalized nature of the modern fashion industry and the enduring relevance of Italian luxury houses. The production moved to the Lombardy region, filming extensively in Milan and at various properties surrounding Lake Como.
The choice of Lake Como was driven by the need for a "lavish environment" that signaled the extreme wealth of the film’s new antagonist, Benji Barnes, a "preposterous billionaire" played by Justin Theroux. The production team scouted the lake by boat to identify villas that offered the most striking visual impact from the water. The resulting scenes feature characters arriving at these estates via private vessel, emphasizing the disparity between the struggling Runway magazine and the unchecked wealth of the tech and retail moguls now dominating the landscape.
In Milan, the production utilized the Palazzo Parigi Hotel & Grand Spa for several key lobby scenes. Unlike the high-pressure filming environment in New York, the Milan shoot offered a more integrated experience for the cast and crew. Actors including Stanley Tucci and Justin Theroux reportedly spent time in the hotel’s lobby between takes, contributing to a collaborative atmosphere that Gonchor described as "a very cool way to make a movie."
Artistic Recreations and Technical Detail
One of the most ambitious technical undertakings of the sequel involved a sequence centered around Leonardo da Vinci’s The Last Supper. Because filming the original masterpiece at the Convent of Santa Maria delle Grazie is strictly prohibited, the production team was required to create a full-scale, hand-painted replica.
Gonchor and his team secured private viewings of the original painting to study its texture, scale, and color palette. To ensure authenticity, the production commissioned specialist painters from Rome to recreate the mural by hand. This attention to detail reflects the film’s broader commitment to high production values, mirroring the perfectionism of Miranda Priestly herself. Additional scenes were filmed at the Brera Institute (Pinacoteca di Brera), one of Milan’s primary public galleries for Italian paintings, which served as the venue for a major fashion show sequence.
Chronology of Production and Industry Context
The development of a sequel to The Devil Wears Prada remained a subject of industry speculation for nearly two decades. The project gained significant momentum in the early 2020s as legacy sequels became a dominant trend in Hollywood. Official production was confirmed following successful negotiations to reunite the original core cast, a feat that industry analysts suggest was essential for the film’s commercial viability.
The timeline of the film’s production is as follows:
- Early 2023: Script development and initial casting negotiations begin.
- Summer 2024: Principal photography commences in New York City.
- Late Summer 2024: Production moves to Italy for location filming in Milan and Lake Como.
- Autumn 2024: Interior scenes and pick-ups filmed in New York lofts and the Woolworth Mansion (used to double for Milanese hotel suites).
- 2025: Post-production and marketing campaign launch.
- 2026: Scheduled theatrical release, marking the 20th anniversary of the original film.
Broader Impact and Narrative Implications
The return of The Devil Wears Prada arrives at a transformative moment for the fashion and media industries. Since the 2006 film, the "influencer" economy has largely supplanted the traditional gatekeeping role of fashion magazines. The sequel’s decision to portray Miranda Priestly navigating a "changed and somewhat struggling media landscape" is a direct reflection of the real-world decline in print advertising revenue and the consolidation of media empires.
The inclusion of contemporary figures like Lady Gaga and Donatella Versace in cameo roles suggests that the film will attempt to bridge the gap between the traditional establishment and the modern celebrity-driven fashion world. Furthermore, the character arc of Emily—moving from publishing to luxury retail—mirrors a common career trajectory for many real-life magazine editors who have transitioned into brand consulting and high-end commerce.
By grounding the sequel in authentic, high-prestige locations, the filmmakers aim to satisfy the expectations of a fanbase that equates the franchise with aspirational luxury. However, by introducing elements of corporate austerity—such as the "Miranda flies coach" plot point—the film also seeks to provide a factual, if sardonic, analysis of the state of the industry in 2026. As the production nears completion, the anticipation surrounding the film suggests that while the media landscape may have changed, the public’s fascination with the internal mechanics of power and fashion remains as strong as ever.
