Meryl Streep reunited with Vogue’s Anna Wintour across the runway at Dolce & Gabbana’s Milan show on Saturday as cameras rolled for The Devil Wears Prada 2, turning a real fashion presentation into a set piece for the sequel. Streep, in Miranda Priestly’s signature dark glasses, took a front-row seat beside Stanley Tucci, who returns as Nigel; both were filmed in character while models walked as part of the brand’s spring/summer 2026 event. The production’s decision to stage a scene inside a live runway show created a meta tableau: the editor long seen as Priestly’s inspiration watching the fictional editor-in-chief from just meters away.
Footage from the venue showed Streep and Tucci entering to cheers as attendees pulled out phones, with fashion-world fixtures including Naomi Campbell nearby. After the show, the pair were escorted backstage as crew captured additional material, according to eyewitness reporting. The Milan sequence follows weeks of on-location filming around New York and signals that the sequel will again braid fashion’s real calendar into its storytelling.
The new film brings back Streep, Tucci, Anne Hathaway and Emily Blunt, with David Frankel directing from Aline Brosh McKenna’s script. Studio guidance and trade coverage indicate the story tracks Priestly in a changing media landscape while revisiting the complicated professional ties that defined the original. The production has added cast members including Simone Ashley and has scheduled European photography alongside U.S. shoots. Theatrical release is set for May 1, 2026.
Saturday’s shoot also offered a reminder of how the 2006 film continues to echo within the industry it satirized. Designers, editors and influencers have folded lines and looks from the original into runway lore; filming within a major house’s show extends that feedback loop, blending staged moments with unscripted crowd reactions. For audiences, the images from Milan function as a proof-of-concept: the arch demeanor, the withering glance and the front-row choreography that helped turn a newsroom comedy into a fashion touchstone are intact, now reframed inside an era of constant social capture.
