The Devil Wears Prada 2

If The Devil Wears Prada taught us one thing in 2006, it's that a well-chosen accessory can change everything. Twenty years later, the sequel confirms the rule — and sunglasses are the ultimate proof. In this film released on April 29, 2026, frames are not mere objects: they are armor, a signal of power, a style statement. Here is the complete breakdown.

Andy is no longer the young woman stumbling through the hallways of Runway in flat loafers. She's back, and her glasses prove it immediately. In the opening New York scenes, she sports round frames with thin gold temples — almost intellectual, consistent with her identity as a serious journalist. Then, as the plot draws her into the worlds of fashion and galas, her glasses evolve. We see her transition to glossy black cat-eye frames, then to semi-rimless frames with amber gradient lenses for the Fashion Week scenes in Milan. It is this stylistic progression that makes her glasses particularly interesting from a fashion perspective: they function as an indicator of her inner state. When Andy is in doubt, she wears understated frames. When she regains her confidence, her lenses darken and her shapes become bolder. The most striking piece remains the KHARTOUM frame by LGR, worn during an outdoor scene in New York — at once modern, elegant, and perfectly aligned with the eyewear trends of summer 2026.

The style to remember: glossy cat-eye or bronze mirror shield. The frame of a woman who knows exactly where she's going.

Emily has changed more than anyone. She is no longer the hysterical assistant counting her calories in the hallways of Runway — she leads, she decides, she cuts funding. And her glasses reflect this transformation with a delightfully brutal stylistic edge. Her frames are futuristic, wraparound, barely tamed. Think wraparound shapes with grey-green tinted lenses, or ultra-minimalist rimless frames with very flat smoked lenses. Choices that belong to an almost military aesthetic of luxury — cold, structured, with no concession to whimsy. Where Miranda uses her glasses to create distance, Emily uses hers to move forward. Her frames don't look down on anyone: they fix their gaze on the horizon. This small detail says everything about the character's narrative arc in this second film. The most striking piece remains the DIORPACIFIC B4I frame by DIOR, worn during an outdoor scene in New York. The style to remember: futuristic wraparound or hexagonal geometric. The frame of a woman who has nothing left to prove — and knows it.

With Miranda Priestly, nothing is incidental. Not a gesture, not a color, not a material. Her sunglasses in this second film follow the same relentless logic as everything else in her wardrobe: they dominate before she even speaks. We find her in oversized frames with wide, rigid temples, in neutral tones — deep black, smoky tortoiseshell, off-white ivory. Slightly angular rectangular shapes that elongate the gaze and create that cold distance so characteristic of the character. No whimsy, no bold color. Miranda does not play with trends: she validates or ignores them, and both have the same effect on the market. What stands out in her choices this time is a subtle shift toward slightly thinner frames along the top of the rim, almost architectural. A detail that subtly reflects the character's newfound vulnerability — still in control on the surface, but with something less armored than before. The most striking piece remains the TF4238U frame by TIFFANY&CO, worn during an outdoor scene in New York. The style to remember: oversized rectangular, thick temples, very dark lenses. The power frame, 2026 edition.