Anyone familiar with The Devil Wears Prada understands the ritualistic significance of “the book”—the mock-up of fictional Runway magazine delivered to Miranda Priestly’s residence each evening by the second assistant, always positioned on the table beside the flowers, adjacent to the closet where her dry cleaning awaits retrieval. It is among the original 2006 film’s most potent visual symbols, one that Meryl Streep resurrected with exquisite literalness at this afternoon’s London premiere of the sequel.
Working with stylist Micaela Erlanger, Streep has throughout this promotional cycle made deliberate nods to her character and the DWP universe—whether sporting cerulean knitwear as wink to the film’s most devastating monologue, or dressing in head-to-toe red as reference to the pump with devil’s pitchfork heel that decorates the original poster. Today, the duo committed fully to the cinematic vocabulary.
Streep arrived in a satin car coat from Prada—crimson, naturally—layered over black slacks and a silky white blouse with scarf-neck detail and Kwiat diamond shirt studs. When the devil ultimately wears Prada, the effect is, predictably, impeccable.
The accessories performed the evening’s true narrative work. Fred Leighton supplied a diamond ring and drop earrings, while a star brooch pinned to her neckline added vintage glamour. Inky cat-eye sunglasses and red pumps—both Prada, notably absent the pitchfork heel—completed the silhouette.
Yet the clutch commanded absolute attention: a custom bedazzled minaudière constructed precisely as miniature replica of “the book” itself. The prop that launched a thousand assistant anxieties, now rendered as objet de soirée. Clearly, the book was safely delivered. Streep’s style, as ever, delivered equally.
