Decoding the red carpet looks and on-screen wardrobes shaping 2026's biggest fashion trends—from Office Siren to Old Hollywood glamour
When The Devil Wears Prada hit theaters in 2006, it didn't just dress its characters—it crystallized a set of aesthetics that, nearly two decades later, are still actively trending. The TikTok-fueled Office Siren revival of the past few years owes a real debt to Andy Sachs' Runway-era transformation; those sharp blazers, pencil skirts, and knife-edged blouses laid the visual blueprint that an entire generation is now reverse-engineering on FYP. So when DWP2 premiered, the stakes were never just nostalgic. The film (and the red carpet around it) was always going to do double duty: reflecting where fashion is right now and shaping where it's headed next. Using Mavira's style analysis tool, we broke down both the premiere looks and the on-screen wardrobes to decode exactly what's signaling next. Spoiler: Old Hollywood is back, the office is sirening harder than ever, and Miranda Priestly is still calling the shots.
Old Hollywood, Reimagined on the Red Carpet
The dominant gesture of the night was a collective lean into Hollywood Regency: classic silhouettes, jewel-toned satin, sculptural drapery, statement diamonds, and the kind of opulence that nods directly to the film’s setting within the fashion world. Anne Hathaway (Andy Sachs), pictured to the right, leads the charge, wearing a vibrant red strapless gown in a structured satin fabric. She’s joined by Emily Blunt (Emily Charlton) in a dramatic cream and gold dress with a high-low tulle skirt and golden structured bustier bodice. Laufey, Pauline Chalamet, Winnie Harlow, and Lady Gaga all had their own takes on the classic style as well. The cumulative effect made the carpet feel less like a 2026 premiere and more like a Golden Age Hollywood backlot.
Sitting right next to that was a strong Black Tie current. Our style analyzer clocked Lady Gaga's look at 47% Black Tie, with Stanley Tucci (Nigel) going the full classic route and Barbara Palvin and Dylan Sprouse landing in unmistakable formal territory together. Where Hollywood Regency leans theatrical, Black Tie leaned restrained, and the contrast between the two camps gave the carpet its tension.
Then there were the avant-garde statements. Our analysis put June Ambrose at 79% Flamenco: full commitment to ruffled volume, deep saturated reds, and a silhouette built for movement. Coco Rocha leaned full Pop Surrealism in a sculptural black-and-white polka-dot ball gown with a textured, almost cartoonish finish. Dreamlike whimsy at maximum volume. And Meryl Streep (Miranda Priestly) arrived in Radical Design: a floor-length sculptural leather cape in a rust-to-amber gradient, worn with a high mock collar, self-tied scarf, and elbow-length black opera gloves. Which is to say, she essentially showed up to her own premiere as Miranda Priestly. Of course she did.
Andy Sachs: From Office Siren to Model Off Duty
Inside the film, the wardrobe analysis tells an even sharper story. Andy Sachs (Anne Hathaway) lives in Model Off Duty styles. The signal pieces are everywhere on screen: light-wash boyfriend jeans paired with crisp white button-downs or slouchy black tanks, snakeskin ankle boots, a faded leather belt, and the casually thrown-on layering piece, whether a brown suede double-breasted blazer in one scene or a sheer drape jacket in another. It's the effortless insider polish of someone who has fully arrived inside the Runway machine. Where 2006 Andy was visibly performing the transformation—pencil skirts, knee-high boots, smoky eye—2026 Andy is so deep inside the machine that the performance has gone invisible. Model Off Duty isn't a costume she wears; it's just how she dresses now.
Effortless Chic is her softer side, with clean lines and a muted palette: an oversized white poplin shirt half-tucked into a pleated sage midi skirt, a ribbed tank layered under a sleek black waistcoat with a worn-in denim maxi. The kind of styling where every piece looks unfussy but every proportion is exact.
When the script calls for polish, she pivots into full Office Siren territory, and the tailoring does all the heavy lifting. Pinstripe waistcoats with matching wide-leg trousers (pictured left). An oversized grey blazer thrown over more pinstripes. A pearl-trimmed black jumpsuit cinched with a skinny leather tie. The 2026 read on Office Siren skips the pencil skirt entirely and leans into sharp, sexy suiting instead. Light Academia threads through the more bookish moments: a burgundy linen waistcoat layered over a sheer slate blouse with navy pinstripe tailoring, the kind of muted, intellectual-coded layering that reads less office, more literary salon.
On-Screen: Character as Aesthetic
Miranda Priestly (Meryl Streep) splits between two main looks. The first is Sprezzatura: that calculated Italian nonchalance, executed via a long camel trench tossed open over wide-leg grey trousers and a crisp white shirt, or worn loose over a navy column skirt with a single pop of red ballet flats. Every detail is exact; nothing looks like she tried. It is, frankly, the only way true power dresses.
The second is the iconic Allgrey, making its long-awaited return: a full monochrome palette threaded across her on-screen wardrobe (pictured right). Picture a long open grey blazer over a satin grey cami and a fluid matching midi skirt, belted with brown leather; the same silhouette repeated again in slightly sharper tailoring with a coordinating pencil skirt and grey kitten heels. The kind of monochrome that telegraphs quiet authority without ever raising its voice. Twenty years on, Miranda's wardrobe still operates by the exact logic it did in 2006 — because Miranda still operates by the exact logic she did in 2006.
Threaded through both is a Glamoratti accent: a silk purple blouse tucked into a tan leather pencil skirt under that same camel trench, a pearl-encrusted long grey overcoat layered over polished grey tailoring, oversized dramatic eyewear in nearly every shot. Editor-in-chief energy without the boardroom severity.
Nigel (Stanley Tucci) leans hard into Dandy: a tan windowpane-check three-piece suit paired with a rust patterned tie, folded pocket square, and brown brogues; a blue plaid waistcoat-and-trouser set worn over a chambray shirt; a black tuxedo elevated with a long striped statement scarf draped at the neck. Sprezzatura is his counterweight: a slim navy suit cut sharp, paisley tie, and softly puffed pocket square. Refined-but-not-trying, the kind of dressing only someone with nothing left to prove can pull off. The editor's editor, sartorial wit deployed with surgical precision. Like Miranda, Nigel hasn't budged: he was already this character in 2006, and two decades of fashion churn haven't pulled him off his line.
Emily Charlton (Emily Blunt) lives at the intersection of Office Siren and Deconstructivism. Office Siren shows up in the tailoring: a crisp white button-down with an exaggerated pointed collar layered under a black corseted Dior pinafore, a white high-neck blouse worn beneath a corseted pinstripe overall with side-lacing details. Deconstructivism is what gives those looks their bite: the visible lacing, the silver chain styled as a tie over a graphic-print striped knit and a black collared shirt, each outfit feeling intentionally pulled apart and reassembled. This is the biggest character evolution of the bunch. Where 2006 Emily was anxiously performing fashion, second-assistant-style, 2026 Emily has graduated to embodying it.
Beyond the leads, the film fills out its Runway universe with a sprawling supporting cast: Justin Theroux, Kenneth Branagh, Lucy Liu, B.J. Novak, Helen J. Shen, Caleb Hearon, and Conrad Ricamora, plus a Donatella Versace cameo for good measure. The broader story across both the film and the premiere is the same: 2026 fashion isn't built around one dominant trend so much as around which wardrobe identity you commit to. Old Hollywood opulence, sharp office suiting, intellectual softness, dandy precision, avant-garde drama. All trending, all simultaneously, all wearable.
The throughlines from premiere to film are clear. Office Siren's reign isn't ending anytime soon. Andy and Emily make sure of that. Light Academia is the easy entry point if you want the intellectual-coded version of the look. Dandy is quietly winning menswear, with Nigel as its on-screen ambassador. And Glamoratti is the move for anyone Miranda-curious without wanting to commit to full Priestly theatrics.
Curious where your own wardrobe lands among these looks? Try Mavira's style analyzer to find out, and get matched with pieces from small, independent brands that fit the aesthetic you're already living in.
Image analysis conducted using Mavira's style analyzer. Drawings made by Aubrey Stevens based on images from Vogue and WWD.
