Andy’s Devil Wears Prada 2 Glow-Up Proves She Got Her Shit Together

 

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In 2006, thanks to the Devil Wears Prada, we got a rare glimpse into the intricacies of the fashion world—from Miranda Priestly, the editor-in-chief of RUNWAY, approving collections for Fashion Week, to the daily dilemma of what to wear to the office without offending her sharp editorial eye.

And here comes Anne Hathaway’s character, Andy Sachs—a young woman chasing her dream of becoming a serious journalist, who perfectly embodies the struggle of styling herself in a way that preserves her identity while still earning Miranda’s elusive approval.

To realise her journalistic ambitions, Andy makes a rather puzzling decision—accepting the role of personal assistant to RUNWAY’s editor-in-chief, despite previously having little interest and knowledge in fashion. However, this proves to be a strategic move: Andy knew that surviving as Miranda Priestly’s assistant meant opening doors to any future job she desired—something she ultimately achieves by the film’s end.

But before we get to Andy’s success, let’s rewind to her first uncertain steps toward becoming a woman she likely never even imagined. She walks into the RUNWAY office for a job interview wearing a stretched periwinkle jumper with a deep neckline layered over a white shirt peeking through, a sesame-coloured corduroy blazer, and a pair of plain black trousers—no hairstyle, no makeup. The interview lasts under a minute yet earns her scornful glances from nearly everyone in the office. Her crime? As Miranda later puts it: “no style or a sense of fashion”.

Of course, Miranda wouldn’t appreciate us saying this—but Andy did have a sense of style. Outdated, yes, but it was hers. It reflected her modest, self-doubting personality, shaped by blurry boundaries and a tendency to stay in toxic relationships—with a boyfriend and friends who liked to keep her small. Her look also echoed the exhaustion of her fast-paced New York life, where there’s no time for proper breakfasts—just an onion bagel grabbed on the run, leaving behind a scent that probably said more to the RUNWAY staff than her résumé ever could.

Once Andy lands the job at the fashion magazine, she quickly grows frustrated, as Miranda gives her no recognition for her hard work. Then, after a pivotal conversation with Nigel, RUNWAY’s art director, Andy suddenly decides it’s time for a major change. She realizes that the reason so few people—including her own boyfriend—take her skills and knowledge seriously is because of how she presents herself, from her overly timid behaviour to her extremely modest clothing choices.

 

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And just like that, Andy decides to turn the page—with, of course, a new wardrobe. To make it happen, she asks Nigel to help her craft a style that feels fresh and authentic, while still reflecting her sharp intelligence and growing professionalism. For this task, Chanel—with its polished, preppy essence—is, as always, a safe bet.

So, the next workday, she walks into the office confidently in her Chanel boots, astonishing everyone with her dramatic glow-up—even earning an approving glance from her editor-in-chief. This exact moment marks the turning point in her transformation, both externally and internally.

It shifts how people perceive her and sparks a change deep within her personality—from a shy, insecure girl into a successful young woman who knows exactly what she’s doing, what she wants from life, who she wants around her, and, importantly, what deserves her attention and what’s better left behind—her boyfriend, for instance.

Even though the movie ends with Andy deciding she doesn’t want a life like Miranda’s—leaving her alone and tossing her phone into a fountain during Paris Fashion Week—by 2025, it seems Andy Sachs has stopped being ridiculous and finally realised that Miranda might’ve been right: “Everybody wants this”.  With some Devil Wears Prada 2 scenes already spotted filming in New York, it looks like Andy missed the fashion world—and Miranda—more than she expected. She’s back, carrying RUNWAY bags and suitcases like she never left.

But the outfits from the movie shoots—styled by Patricia Field, who also dressed Carrie Bradshaw in Sex and the City—promise that Andy’s return to the fashion world is anything but a repeat. Her updated, classy look blends timeless minimalism with a hint of workwear, creating a modern style that fits seamlessly into today’s world.

Her casual outfits—like a navy zip-up jumpsuit by Re/Done or a denim maxi skirt from Agolde paired with a white tank top from Toteme, both finished with the same pair of Chanel sandals—show that this time, Andy feels calm, composed, and confident, like a fish in water, fully owning whatever she’s doing in the sequel.

 

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But beyond the casual looks, we see outfits that reflect a deeper sense of maturity—both professionally and personally. Think timelessly elegant pieces like a suede Ralph Lauren jacket paired with a blue silk scarf from Sabina Savage, snake-print boots effortlessly styled with rolled-up Levi’s jeans. And instead of the usual Starbucks cup, she’s now carrying designer bags.

Her self-worth shows not only in what she wears but in how she carries herself—like when she strides through the city in a classic striped suit from Jean Paul Gaultier, adorned with subtle yet luxe details. It’s not about flaunting a gold diamond toggle pendant worth £11,000—but it definitely leaves an impression of intelligent chic and quiet sophistication.

Now, this isn’t to say you need designer clothes, accessories, or jewellery to prove your intelligence, professionalism, or personal boundaries. But even Andy Sachs—who once couldn’t distinguish between two different belts by their colours—came to understand the power of fashion as a visual language. It speaks volumes about who you are without saying a word, and she wisely embraced it as a tool for both her inner and outer glow-up.

Words by Dana Shmyha