Turns out picking cute outfits for a movie is the easy part people get wrong the most.
Costume designer Molly Rogers, who took over as lead costume designer for The Devil Wears Prada 2, is showing why contemporary costume design in film is one of the most misunderstood jobs in Hollywood. Rogers, who assisted Patricia Field on the original 2006 film, built the sequel's wardrobe for a reported May 1, 2026 release, and her process involved far more than buying trendy clothes off a rack.
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Rogers Returns to a World She Helped Build Years Ago
Molly Rogers did not walk into The Devil Wears Prada 2 as a stranger to this story. She worked as an assistant to Patricia Field on the first film back in 2006, learning firsthand how Miranda Priestly, Andy Sachs and Emily Charlton came to life through clothing. That experience later carried her into other Field productions, including Sex and the City and Ugly Betty, before she eventually built her own path in television costume work on shows like And Just Like That.
When the sequel came together, Rogers stepped in as the solo costume designer, a job she described with real excitement. "A million girls would kill for this job, so enjoy it," she said, reflecting on the moment she realized what she had signed up for. But excitement did not mean the job was simple. She had to honor what Field built while making sure the characters felt like real people who had lived whole lives since audiences last saw them.
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The Blue Sweater That Became a Masterclass in Contemporary Costume Design in Film
One of the clearest examples of why contemporary costume design in film takes so much thought is Andy Sachs's now-famous sweater. According to Rogers, her very first call after landing the job was about that garment. The script simply called for a blue jumper. The elaborate explanation about cerulean fashion history that made the scene iconic came together later, built through dialogue, color choices and performance rather than existing in the script from day one.
That detail matters because it shows how a plain piece of clothing can carry enormous meaning once a costume designer, writers and actors shape it together. It was never just about finding a blue sweater. It was about building a moment that said something about fashion, hierarchy and how little people sometimes understand about their own choices.
Dressing Andy, Miranda and Emily for Who They Have Become
Rogers said Andy Sachs, still played by Anne Hathaway, needed clothes that reflected real growth without pretending she had turned into a fashion expert overnight. "She had opened up and matured," Rogers explained, and that change had to show up in the wardrobe itself. Andy's closet in the sequel mixes vintage finds with current pieces, and it is allowed to look a little imperfect, because Rogers was clear that Andy is not Emily, who she described as "polished and fashion savvy."
Miranda Priestly, played again by Meryl Streep, got a much bolder treatment, built around vintage Giorgio Armani alongside modern names like Gabriela Hearst, Proenza Schouler and Monse. Emily Blunt's Emily Charlton kept her sharp, controlled style intact, staying visually distinct from Andy even years later. Rogers also had to dress a new generation of Runway staffers played by Simone Ashley, Caleb Hearon and Helen J. Shen, giving the newsroom a fresh, younger energy without breaking the show's established visual rules.
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Dressing characters in present-day clothing sounds easy, but Rogers's experience shows the opposite. Audiences instantly recognize current brands, silhouettes and trends, which means mistakes stand out immediately. A costume that leans too hard into one year's trends risks making the whole film feel dated within a few seasons, something Rogers said she actively tried to avoid by chasing a timeless feel, the same quality she admired in the original 2006 film.
Access to designer clothing created its own challenge too. Rogers described the sequel's wardrobe options as an "ocean of clothing," meaning her real job was not finding great pieces but narrowing down endless choices into looks that matched each character's personality, history and place in the story. Every accessory, including small details like Andy's Coach messenger bag, had to earn its place by saying something about who these people are now, not just filling screen time with recognizable labels.
A Wardrobe Built to Honor the Original While Standing on Its Own
Rogers has been candid that stepping into Patricia Field's shoes came with real pressure. Interviews published around the film's release, including conversations with The Cut, The New Yorker, Vogue and Harper's Bazaar, describe a designer working hard to protect a beloved legacy while still pushing the fashion forward for 2026 audiences. One British Harper's Bazaar piece even called the process "a battle," pointing to how much negotiation went into deciding exactly what Miranda, Andy and Emily would wear scene by scene.
What Rogers's work ultimately proves is simple. Contemporary costume design in film demands research, restraint and storytelling instinct, not just a good eye for trends. As The Devil Wears Prada 2 reaches theaters, her wardrobe choices will likely shape how audiences and critics talk about costume design for years, much like the original film did nearly two decades earlier.
