It’s not a Met Gala without Rihanna. The singer is basically as essential to the event as Anna Wintour herself, and the evening just doesn’t seem complete until she hits the red carpet. And while Rihanna arrived late, per usual, to the 2026 Met Gala, she didn’t deny us the drama for which she has become known, thank goodness.

Rihanna attended the Gala on Monday night in Maison Margiela Couture by Glenn Martens, inspired by a look from the designer’s fall/winter 2025 collection. Metallic fabric wrapped the singer’s legs in a column skirt before climbing up and encircling her upper torso, creating an opening to show off a jewel-encrusted turtleneck top. Diamond rings dotted her fingers while forty metal pin curls from Jennifer Behr covered her hair, mimicking the shape of the dress and adding an artful touch to the ensemble.

The best part about Rihanna’s Met Gala repertoire is that we never know what to expect. A silk, fur-lined coat? A pearl-covered pope? A deconstructed suit? Each year brings with it something different, and 2026 was no exception.

Of course, Rihanna was joined by her partner, A$AP Rocky, on the red carpet, and together, the two made for the most fashionable couple of the evening. For his part, Rocky wore a pink Chanel jacket-cum-house coat featuring a belt finished off with fringe and a feathered flower brooch. The pair’s looks were in no way coordinating, but they represented both of their respective styles, allowing each to shine in their own way.

We don’t know what Rihanna’s goals were for her look this evening, but perhaps she wanted to look “pretty,” like in 2019. Milliner Stephen Jones, who made Rihanna’s pope hat that year, asked the singer the simple question of how she wanted to look prior to the event. He recalled the moment recently to W. “She replied, 'Funny enough, nobody has asked me that,’” he said. Jones warned Rihanna of the hat’s weight, but the singer, always a pro, was unconcerned. “Have you seen the shoes?” she asked. “The hat is not the problem.” Tonight, then, must have been a breeze for her.

Beyoncé has returned to the Met Gala for the first time in 10 years, and boy, did she make the wait worth it. The co-chair arrived fashionably late to the event on Monday night, not only with her husband, Jay-Z, in tow, but also with her daughter, Blue Ivy Carter, by her side.

And while, for the most part, the 2026 Met Gala red carpet lacked the drama one would expect to come from a “Costume Art” theme, Beyoncé made sure to bring it tenfold thanks to Olivier Rousteing. The singer attended in a jewel-encrusted dress mimicking a skeleton, depicting her collarbone, spine, hands, and hips, before continuing down her legs in a column skirt. On top, a coat of gray ombré feathers trailed many feet behind her, necessitating a team of attendants to help her walk the stairs. A spike cap, covered in more crystals, and Chopard jewelry completed this over-the-top ensemble.

On the red carpet, Beyoncé spoke about her decision to work with Rousteing on the design, describing the former Balmain designer as “someone who has been so loyal to me.” She said the look is about “celebrating him” as well as all the “juicy, curvy, thin, tall” bodies. “Whatever God gave you.”

And if Beyoncé brought the theatrics, it was up to Blue to bring the chic glamour. The 14-year-old opted for a much more toned-down ensemble for her Met debut, wearing a white Balenciaga dress with a bubble hem that picked up at the front to reveal crystal-covered Jimmy Choo heels finished off with quartz. A matching cropped puffer and sunglasses upped the cool factor. Jay-Z, smartly, let the women in his life shine, and wore a simple black Louis Vuitton tux with tails and a double-breasted vest, topped with a Briony Raymond brooch.

Now, it is pretty surprising that Blue is on the Met Gala red carpet, as the event famously is limited to those 18 and up. Of course, if the Met is going to make an exception, it would be for Beyoncé’s offspring. Though likely Blue will just walk the steps and then head home for the night, as her parents go on inside to enjoy the festivities.

The last time Beyoncé attended the Met Gala was back in 2016 for the “Manus x Machina: Fashion in an Age of Technology” themed event. She wore a latex dress by Riccardo Tisci for Givenchy, a designer and brand she’d worked with for five straight Met appearances. And while she opted to go in a different direction for the 2026 iteration, this look does have shades of the black and purple look Tisci designed for the singer back in 2012. Clearly, Beyoncé loves jewels and she loves feathers, and we can’t blame her.

Hunter Schafer is having an art-filled week. In Sunday’s episode of Euphoria, her character, Jules, recreated Georges Seurat’s A Sunday Afternoon on the Island of La Grande Jatte, turning the neo-impressionism masterpiece into a ghoulish scene too explicit for poor Lexie (Maude Apatow) or network television.

But on Monday, on a Met Gala red carpet filled with sheer and barely-there dresses, Schafer was one of the few attendees who opted for a more demure look. She also took the evening’s theme seriously, dressing like a figure straight out of art history.

Schafer arrived to the 2026 Met Gala in a custom Prada look inspired by Gustav Klimt’s 1912/1913 painting Mäda Primavesi. The portrait depicts the nine-year-old girl in a confident stance amid a colorful background, wearing a white dress by Klimt’s friend, couture designer Emilie Flöge, decorated with flowers. Appropriately, the painting is part of the museum’s permanent collection.

Like Primavesi, Schafer wore an empire-waist gown with a line of rosettes just under the bust. While Primavesi’s dress ended just under the knee in layers of ruffles, however, Schafer’s reached the floor. Holes and tears along the waist and skirt made the dress look almost as if it were falling apart. Underneath the linen fabric emerged a floral silk chiffon fabric that continued into a long train behind the actor that draped the steps as she ascended. Schafer finished the look with a bow in her hair just like Primavesi, and a simple face of makeup—pink cheeks and blue eyeshadow—that matched the nine-year-old's own pre-war glam.

The result is Schafer as Primavesi all grown up. Or, like the actor discovered the old Emilie Flöge dress tucked away in an attic, filled with holes after years of gathering dust, and brought it to Prada to refurbish.

The theme on Monday night was Costume Art, and many attendees opened up their old art history textbooks to find references for the evening. Schafer wasn’t the only attendee to dress like a figure who stepped right off a canvas. Artist Amy Sherald tasked Thom Browne to dress her like the young woman from her 2014 painting, Miss Everything (Unsuppressed Deliverance). While others, like Rosie Huntington-Whiteley, embodied the infamous John Singer Sargent subject, Madame X. As a result, the evening is truly an art nerd’s dream. Surely, Jules would have enjoyed the festivities greatly.

There’s only one event that boasts a guest list that includes Beyoncé, Nicole Kidman, Sabrina Carpenter, Lisa, and Zoë Kravitz: the Met Gala. They’re just a few of the A-list names expected to walk the red carpet for the 2026 event. The chair committee alone is enough to rival the red carpet at the Oscars. This year, the theme of the evening is “Costume Art,” an exploration of how the body and clothing are represented in the Metropolitan Museum of Art’s vast collection. The dress code further clarifies red carpet expectations. Guests were asked to consider the idea that “Fashion is Art” when choosing their looks for the evening. Basically, tonight, the body is a canvas and designers are the artists bringing it to life.

So, expect a surplus of art-inspired ensembles, as well as looks that feature more skin than fabric. Naked dressing has been a popular choice at the Met for years now, and with the theme literally mentioning the body, it will no doubt also be prevalent tonight. At an event like the Met Gala, everyone is vying for attention, but it will be hard to get it with Beyoncé on the red carpet. It’s the singer’s first Met in over a decade, so all eyes are undoubtedly trained on Queen B, who is acting as a co-chair, alongside Kidman, Venus Williams, and Anna Wintour.

Of course, the question is, what will Beyoncé wear? Will she opt for Saint Laurent, a sponsor of the event? Or, maybe she will tap Givenchy for the sixth time. Plus, will she take the opportunity of the night to announce her new album, as many people expect? This is the Met Gala, and anything can happen. You won’t want to miss a beat—not a heel, a headpiece, nor a bowtie. So, check back here for all of the celebrity red carpet looks from the 2026 Met Gala.

Beyoncé

In Olivier Rousteing with Chopard jewelry.

Rihanna

In Maison Margiela with jewelry from Briony Raymond and Dyne.

A$AP Rocky

In Chanel.

Rosé

In Saint Laurent with Tiffany & Co. jewelry.

Madonna

In Saint Laurent.

Kim Kardashian

In Allen Jones and Whitaker Malem.

Sabrina Carpenter

In Dior with Cartier jewelry.

Cardi B

In Marc Jacobs.

Doechii

In Marc Jacobs with David Webb jewelry.

Jennie

In Chanel.

SZA

In Bode.

Charli xcx

In Saint Laurent with David Yurman jewelry.

Lisa

In Robert Wun with Bulgari jewelry.

Teyana Taylor

In Tom Ford by Haider Ackermann.

Kylie Jenner

In Schiaparelli.

Jisoo

In Dior with Cartier jewelry.

Hailey Bieber

In Saint Laurent with Belperron jewelry.

Kendall Jenner

In Gap by Zac Posen with Buccellati jewelry.

Doja Cat

In Saint Laurent.

Zoë Kravitz

In Saint Laurent.

Margot Robbie

In Chanel.

Nicole Kidman

In Chanel.

Anne Hathaway

In Michael Kors Collection with Bulgari jewelry.

Hunter Schafer

In Prada.

Blue Ivy Carter

In Balenciaga with Henry & Henry jewelry.

Jay-Z

In Louis Vuitton with Briony Raymond jewelry.

Amanda Seyfried

In Prada with Tiffany & Co. jewelry.

Blake Lively

In Versace with Lorraine Schwartz jewelry.

Julianne Moore

In Bottega Veneta with Messika jewelry.

Sombr

In Valentino.

Gigi Hadid

In Miu Miu with Jessica McCormack jewelry.

Odessa A'zion

In Valentino with Pandora jewelry.

Colman Domingo

In Valentino with an Omega watch and Boucheron jewelry.

Kate Moss

In Saint Laurent.

Carey Mulligan

In Prada with Tiffany & Co. jewelry.

Katy Perry

In Stella McCartney with a Miodrag Guberinic headpiece.

Ayo Edebiri

In Chanel.

Laufey

In Tory Burch and Bucherer jewelry.

Tyla

In Valentino.

Venus Williams

In Swarovski.

Gracie Abrams

In Chanel.

Angela Bassett

In Prabal Gurung.

Claire Foy

In Erdem.

Emily Blunt

In Ashi Studios with Mikimoto jewelry.

Tate McRae

In Ludovic de Saint Sernin and The Back Vault jewelry.

Chase Infiniti

In Thom Browne with Marli jewelry.

Naomi Osaka

In Robert Wun with Lagos jewelry.

Irina Shayk

In Alexander Wang.

Tyriq Withers

In Louis Vuitton with David Yurman jewelry and a Jaeger-LeCoultre watch.

Serena Williams

In Marc Jacobs with David Yurman jewelry and an Audemars Piguet watch. .

Camila Morrone

In Tory Burch with David Yurman jewelry.

Suki Waterhouse

In Michael Kors Collection and Boucheron jewelry.

María Zardoya

In Matières Fécales with Pandora jewelry.

Sarah Paulson

In Matières Fécales with Boucheron jewelry.

Alyssa Liu

In Louis Vuitton with Pasquale Bruni jewelry.

Sarah Pidgeon

In Loewe.

Paul Anthony Kelly

In Dior with a Vacheron Constantin watch.

Bill Skarsgård

In Thom Browne.

Olivia Wilde

In Thom Browne.

Damson Idris

In Prada.

Gwendoline Christie

In Giles Deacon.

Hoyeon

In Louis Vuitton.

Ciara

Kris Jenner

In Dolce & Gabbana.

Romeo Beckham

In Burberry with De Beers London jewelry.

Tom Sturridge and Alexa Chung

Sturridge is in Simone Rocha. Chung is in Dior.

Hudson Williams

In Balenciaga with Bulgari jewelry.

Connor Storrie

In Saint Laurent with Tiffany & Co. jewelry and an Omega watch.

Cara Delevingne

In Ralph Lauren with De Beers London jewelry.

Stevie Nicks

In Zara by John Galliano with a Stephen Jones hat and Tiffany & Co. jewelry.

Sam Smith

In Christian Cowan.

Bad Bunny

In Zara.

Gabrielle Union-Wade

In Michael Kors Collection with Tiffany & Co. jewelry.

Dwyane Wade

In Michael Kors Collection and Jacques Marie Mage sunglasses and Tiffany & Co. jewelry.

Rauw Alejandro

In Saint Laurent with Chopard jewelry.

Ningning

In Gucci.

Maude Apatow

In Valentino with Brilliant Earth jewelry.

Ben Platt

In Tanner Fletcher.

Lena Dunham

In Valentino.

Ejae

In Swarovski.

Maluma

In Tom Ford by Haider Ackermann with Bulgari jewelry.

Nia Long

Troye Sivan

In Prada with Pandora jewelry.

Rebecca Hall and Morgan Spector

Hall is in Tom Ford by Haider Ackerman with Gabriel & Co. jewelry. Spector is in Tom Ford by Haider Ackerman with an IWC watch.

Lily-Rose Depp

In Chanel.

Naomi Watts

In Dior with Briony Raymond jewelry.

Patrick Schwarzenegger

In Public School with David Yurman jewelry.

Paloma Elsesser

In Bureau of Imagination by Francesco Risso.

Bhavitha Mandava and Awar Odhiang

In Chanel.

Cher

In Burberry.

Alex Consani

In Gucci.

Liline Jacquemus and Simon Porte Jacquemus

In Jacquemus.

Keke Palmer

Sunday Rose Kidman Urban

In Dior.

Danny Ramirez

In Michael Kors Collection with Cartier jewelry.

Adut Akech

In Thom Browne.

Camila Mendes

In Manish Malhotra.

Janelle Monáe

In Christian Siriano with Rainbow K jewelry.

Amelia Gray

In Saint Laurent with Chopard jewelry.

Yseult

In Harris Reed with Chopard jewelry.

Nicholas Hoult

In Prada with a Vacheron Constantin watch and Tiffany & Co. jewelry.

Coco Jones

In Prabal Gurung.

Suleika Jaouad and Jon Batiste

Batiste in ERL with Cartier jewelry.

Ludovic De Saint Sernin and Ivy Getty

In Ludovic De Saint Sernin.

Emma Chamberlain

In Mugler with Chopard jewelry.

Angel Reese

In Altuzarra with Smiling Rocks jewelry.

Jesse Jo Stark

In Burberry.

Rosie Huntington-Whiteley

In Burberry with Tiffany & Co. jewelry.

Louisa Jacobson

In Dilara Findikoglu.

Lila Moss

In Conner Ives.

Rachel Sennott

In Marc Jacobs.

Grace Gummer

In Gabriela Hearst.

Chase Sui Wonders

In McQueen with Tiffany & Co. jewelry.

Rami Malek

In Cartier jewelry.

Laura Harrier

In Di Petsa with jewelry from Briony Raymond and Isabel Delgado.

Jaafar Jackson

In Polo Ralph Lauren.

Ashley Graham

In De Petsa with Zales jewelry.

Rachel Zegler

In Prabal Gurung.

Law Roach

In Ami.

Ayesha Curry and Stephen Curry

In Balenciaga with Cartier jewelry.

Maya Hawke

In Prada.

Audrey Nuna

Babyface

In LaQuan Smith.

Simone Ashley

In De Beers London jewelry.

Sam Pinkleton

In Tanner Fletcher.

Misty Copeland

In Michael Kors Collection with Effy jewelry.

Daisy Edgar-Jones

In McQueen with Boucheron jewelry.

Tessa Thompson

In Valentino with Pandora jewelry.

Joey King

In Miu Miu.

Russell Westbrook

In Gap by Zac Posen.

Skepta

In Thom Browne with a Audemars Piguet watch.

Dree Hemingway

In Valentino couture with Pandora jewelry.

Joe Alwyn

In Valentino.

Maxwell Osborne and Dao-Yi Chow

Huma Abedin

In Prabal Gurung with Briony Raymond jewelry.

Vittoria Ceretti

In Carolina Herrera.

Ana Amelia Batlle Cabral and Marcello Hernández

Hernández in Thom Browne.

Grace Ling

In Grace Ling.

Jordan Roth

In Robert Wun.

Lindsey Vonn

In Thom Browne.

Donatella Versace and Alessandro Michele

Adwoa Aboah

In Simone Rocha with jewelry from Sauer and Nikos Koulis.

Lauren Wasser

In Prabal Gurung with jewelry by Megan Piccione.

Amy Sherald

In Thom Browne with an Esenshel headpiece.

Tschabalala Self

In Brandon Blackwood.

Selby Drummond

In Conner Ives.

Sabine Getty

In AdaLioryn jewelry.

Audrey Nuna

In Robert Wun.

Imaan Hammam

In Saint Laurent.

Yumi Shin and Joseph Altuzarra

Altuzarra in Altuzarra.

Felicity Blunt and Stanley Tucci

In Etro.

Elizabeth Debicki

In Vera Wang.

Heidi Klum

In Mike Marino.

Alexi Ashe and Seth Meyers

Meyers in Gabriela Hearst.

Anok Yai

Balenciaga

Ahn Hyo-Seop

In Valentino.

Anderson .Paak

In Amiri with Cartier jewelry and an Audemars Piguet watch.

Ben Stiller and Christine Taylor

Taylor in Bibhu Mohapatra.

Finn Wolfhard

In Thom Browne and a Jaeger-LeCoultre watch.

Baz Luhrmann and Catherine Martin

In Prada.

Anna Weyant

In Marc Jacobs.

Tom Ford

Jack Harlow

In Torishéju.

Lauren Hashian and Dwayne Johnson

In Thom Browne.

Tory Burch

In Tory Burch.

Greta Gerwig and Stella McCartney

Gerwig is in Effy jewelry.

Isla Johnston

In Loewe.

Lux Pascal

In Cult Gaia.

Luke Evans

In Palomo.

Charlotte Gainsbourg

In Saint Laurent.

Cai Xukun

In Thom Browne.

Liu Wen

In Michael Kors Collection and Chopard jewelry.

Sutton Foster

In Fred Leighton jewelry.

Georgina Chapman

Russell Wilson

In Jacques Marie Mage sunglasses.

John Lithgow and Mary Yeager

Lithgow in Gabriela Hearst.

Evan Spiegel and Miranda Kerr

In Dior

Jeremy Pope

In Vivienne Westwood.

Anja Rubik

In Boucheron jewelry.

Joe Burrow

In Cartier jewelry.

Miles Chamley-Watson

Georgina Rodríguez

In Ludovic de Saint Sernin with Chopard jewelry.

Jimmy Butler

In Alo.

Amy Fine Collins

Jasmine Tookes

Jack McCollough and Lazaro Hernandez

In Loewe.

Loli Bahia

In Saint Laurent.

Hamish Bowles

Aurora James

In vintage Emanuel Ungaro with Ana Khouri jewelry.

Hero Fiennes Tiffin

In Valentino.

Dasha Zhukova

In Prada.

Anna Wintour

In Chanel.

Adrien Brody

In Dior.

Karlie Kloss

In Dior with Cartier jewelry.

Chloe Malle

In Colleen Allen.

Lala Anthony

In Wiederhoeft and Lorraine Schwartz.

Lauren Sánchez Bezos

In Schiaparelli with Lorraine Schwartz jewelry.

Bee Carrozzini

In jewelry from Briony Raymond and Jenna Blake.

Wendi Murdoch

I should start by saying that I am a hater. I am one of those people who spent the entirety of watching Emerald Fennell’s Wuthering Heights pointing out every deviation from the book (though that film has issues beyond its extreme creative liberties—see: a hater). They say acceptance is the first step, but that doesn’t mean it’s something I want to change. I like being a hater. I like, for instance, watching The Devil Wears Prada 2 with a healthy dose of skepticism.

For the record: I liked DWP2. It’s cute, the cast is great, and I would happily watch a million hours of Meryl Streep and Stanley Tucci as a dynamic duo running a fashion magazine. It’s an enjoyable two hours that continues a beloved story while situating it within the current realities of the media industry. Still, I suspect much of the praise is driven by nostalgia—a force very good at clouding judgment. If it were a one-off film, with all new characters and a different fictional magazine, it would likely be dismissed as boring and unevenly written—because, in my opinion, it is. That may sound odd for a movie packed with high-profile cameos, sparkly costumes, and fun montages. But look past all the glitter that’s distracting from the storyline, and you realize that, for the most part, very little actually happens.

At the height of the film, in Andy’s bid to save Runway from utter demise, she sits in a hotel room all day—albeit in a great vintage Björk shirt—and does not much more than make phone calls. Sure, there was a sense of urgency to it all but nevertheless I found my mind wandering. Here, just some of the thoughts that popped up.

Why are we spending so much time on this Aussie?

One of the major side plots of the film revolves around Andy Sachs and her new love interest, Colin a real estate contractor portrayed by Australian actor Patrick Brammall. He’s nice enough, and they seem like a good match, but when have we ever cared about Andy’s love life? Perhaps there was some conversation in the writers' room about finding a good man for Andy after Adrian Grenier’s character was sufficiently rebuked over the past two decades as the true villain of The Devil Wears Prada. Or maybe they wanted to recreate the chemistry between Andy and her one-night fling, Christian (Simon Baker), from the first film. But this relationship does nothing to further the story nor push any character growth forward. I think I can safely say no one is going to the theater to see Andy fall in love. This is a career film, and too many minutes were wasted on the new guy.

Leave the finance bros at home, please.

I had heard from colleagues that the film is very insidery; I assumed they meant it dove into the intricacies of the media industry. It does, but what I didn’t expect was that the consultants, venture capitalists, and private equity associates would be invited into the circle as well. There are multiple scenes of meetings around how to make Runway more profitable, and while they are done with a touch of satirization, it is not enough to make them interesting in any way. Every time BJ Novak’s character came on screen, I let out a groan because I knew the entertainment would cease for the next few minutes. I get it. They had to set up the stakes. The magazine is being sold off and gutted, but do we really need to talk about it over and over again? I can only watch Andy sputter on-screen so many times.

The film’s marketing and its thesis are in direct contradiction with each other.

To be fair, I did find parts of this storyline to be accurate. As someone who has been in the media industry for close to a decade, I’ve somehow dodged lay-offs while seeing them destroy good writers and even better publications on a frighteningly consistent basis. Never did I think this would be interesting fodder for a movie, but I do appreciate that DWP2 didn’t shy away from the realities of the industry as it stands. A sequel where Runway is thriving probably would have left me even more perturbed upon leaving the theater. Still, there was something hypocritical about the movie's entire thesis. Andy wants to save Runway, whether that's because she thinks it’s the last job in the industry where she can make a living wage or because she believes this cultural institution and arbiter of taste deserves to live on. But the distinction is largely irrelevant, muddled by the film’s own plot. She continually describes things as “everything that is wrong with the world,” including, at one point, a glamorous 75th birthday for the Elias Clarke CEO filled with her Runway colleagues. Are we supposed to agree with Andy? Or, do we take the side of Miranda and Nigel, who are adamant in their belief that Runway, its legacy, and its survival are paramount to the overall endurance of beauty and artistry? Perhaps a little bit of column A and column B—but anyone who believes in column B likely watched the movie’s press tour with the skeptical, side-eye emoji hanging over their head. Didn’t this film do exactly what it claims to be against: sell itself out, strip itself down to the simplest form, and hawk, not only tickets, but every branded product imaginable?

Did I just watch an ad or a movie?

When The Devil Wears Prada was in production more than twenty years ago, the fashion industry wouldn’t touch it. Here was a film blasting the most powerful woman in fashion, and brands wisely didn’t want anything to do with it. Costume designer Patricia Field had to work magic to clothe the cast when labels refused to lend clothes in fear of Anna Wintour’s wrath. This time around, Wintour was on board to such an extreme degree that she was reportedly on set, giving notes herself. Luxury labels, similarly, did a 180, securing key placelements in the film. Dior and Dolce & Gabbana are critical to the plot, while other brands are name-dropped with aplomb, and one can’t help but think there was a paycheck behind each mention. And while Jeff Bezos gets skewered in the film, portrayed by a goofy and gauche Justin Theroux, it clearly did nothing to compromise he and his wife Lauren Sánchez Bezos serving as honorary co-chairs of the 2026 Met Gala—Wintour’s annual crowning achievement.

In the first movie, Andy is a girl who wants to get into “real journalism,” who sees Runway simply as peddlers of luxury goods to people who don’t need them. There is a moment where we see that she still believes this 20 years later, specifically when talking to Emily about the $3,000 handbags Dior sells. The film makes the point that fashion magazines are more than that, but what about movies about fashion magazines? For the past few weeks, everywhere one has turned, there has been the red stiletto. Diet Coke cans, Grey Goose vodka, L’Oreal makeup, Target lines all plastered with the DWP2 logo. Would Andy approve? Would Miranda? I think not.

There’s a scene near the beginning of the movie, just after Andy gets rehired at Runway, when they go to visit Emily at Dior to discuss the brand’s advertising with the magazine. Andy learns the new lay of the land: Dior pays for the ads, ads pay for the magazine, so Emily is in a position of power. Andy is aghast, so maybe she can relate to how I felt every time a Starbucks cup was flashed before the camera or a brand was name-dropped in the film. While Andy pleads for the maintenance of integrity in the sequel, it feels like it left the building before the title card was even projected on screen.

Did we really need a sequel?

When I left the screening, I asked myself, “What was the point?” The story was told—and told well—with the first film. Why did we need a second? Then, I looked around: I was at a L’Oreal Paris-sponsored first look at the movie, one night before its wide release (yes, I can see how you might think I'm part of the problem). Standing there, in a sea of branded content, I was reminded that the point was, of course, to make money. And with a projected $180 million in global box office for its opening weekend, it will certainly succeed in keeping a struggling Hollywood afloat for at least another day.

For the most part, the focus of The Devil Wears Prada 2 press tour has been squarely on the three main stars: Anne Hathaway, Meryl Streep, and Emily Blunt. But Runway newcomer Simone Ashley has been holding her own over the last few weeks, in large part thanks to her impressive vintage pulls. On Monday, the British actor stepped out in New York City for a screening of the new film, wearing one of Balenciaga’s most famous Y2K-era collection.

Ashley wore a printed mini dress from Nicolas Ghesquière’s spring/summer 2003 collection for the brand. Inspired by sporting—specifically swimming and baseball—Ghesquière sent models down the runway in skintight pants perfect for the outfield and t-shirts protruding with padded shoulders. The designer also enlisted neoprene for scuba-adjacent mini dresses. That is what Ashley plucked from the collection, a piece manifesting summer with its depiction of coral reefs and jumping dolphins.

The 31-year-old paired the dress with black, patent leather pumps and a black Le City bag, keeping the accessories simple and within the Balenciaga universe.

Ashley has been wearing a lot of vintage recently. Last week, the 31-year-old actor wore a hot pink Thierry Mugler resort 1984 dress to DWP2’s London premiere. And while not vintage, she later changed into a Versace spring 2016 dress for the “A Night With Runway” event held after. Ashley even previously wore Ghesquière’s Balenciaga. Earlier this month, she threw on a fall 2003 parachute jacket and a larger version of the Le City bag for a stroll around New York.

While Ashley’s character, Amari, may be the new Andy Sachs in the DWP sequel, the actor herself does not need to waste her time with a trip to the Runway fashion closet. Anyone who can keep up with Streep, Hathaway, and Blunt—and appreciates Ghesquière’s Balenciaga as much as she does—has a bright sartorial future.

Teyana Taylor is a relative newcomer to the Met Gala. The Oscar-nominated actor only attended her first in 2021, but in just five years, she’s proven she deserves the elusive invite. Starting with an ab-baring Prabal Gurung dress in 2021, Taylor has managed to stick to the theme each year while still maintaining her style integrity. Last year, she took the biggest risk of all, attending “Superfine: Tailoring Black Style” in an over-the-top look designed by famed costume designer Ruth E. Carter.

Luckily, we know 2026 will include another appearance from Taylor. The actor is on the event’s host committee, so she’s guaranteed an invite. And considering the theme revolves around the body as a canvas, we can assume Taylor will take the opportunity to show off her famous figure. We could be wrong, however. So, while we wait to see what Taylor wears for this trip up the Met steps, let’s take a look back at her Gala track record.

2025: “Superfine: Tailoring Black Style”

Teyana Taylor made quite the statement at the 2025 Met Gala. The multi-hyphenate wore an extravagant look created by Oscar-winning costume designer Ruth E. Carter, inspired by Taylor’s 2018 song, “Rose in Harlem.”

2024: “Sleeping Beauties: Reawakening Fashion”

A blonde Taylor attended the 2024 event in a flower-covered, draped dress fittingly made for her by The Blonds.

2023: “Karl Lagerfeld: A Line Of Beauty”

Taylor paid homage to the late Karl Lagerfeld at the 2023 Met Gala in a custom Thom Browne tweed look with hip cut-outs.

2022: “In America: An Anthology of Fashion”

In 2022, Taylor walked the Met steps in an ethereal Iris Van Herpen design.

2021: “In America: A Lexicon of Fashion”

Taylor is known for showing off her abs, so it’s surprising she has only done so once at the Met Gala. The singer attended for the first time in 2021, wearing a barely-there Prabal Gurung silver gown. But what the dress lacked in a bodice, it made up for in train, as multiple yards of silver fabric followed Taylor throughout the night.

In 2008, when Zoë Kravitz was just 19 years old, she attended her first Met Gala. The actor has walked the Met steps a total of ten times, leaving her mark on the carpet with each ascension. Of course, Kravitz’s style has changed a lot in the 18 years since her first appearance. Early on in her Met career, the actor wore simpler looks created for her by designers like Alexander Wang and Derek Lam. In 2016, she took her first big swing with a Valentino couture mini dress, but it wasn’t until 2018 that she really hit her stride. That was the year when Saint Laurent started dressing Kravitz for the Met Gala, and since then, the actor hasn’t trusted anyone else with the job.

Kravitz hasn’t attended the Gala since 2021, but she will be there this year, and it’s safe to assume we will see her in another Anthony Vaccarello dress. The two are co-chairs of the host committee, meaning even more eyes will be on Kravitz than usual. So, while we wait to see what she brings to the 2026 event, let’s look back at all ten of Kravitz’s Met Gala looks from the past.

2021: “America: A Lexicon Of Fashion”

Zoë Kravitz attended the 2021 Met Gala in a slinky Saint Laurent dress.

The piece was completely see-through, which became all the more obvious when the actor turned around.

2019: “Camp: Notes on Fashion”

In 2019, Kravitz covered up a little bit more, arriving to the pink carpet in another Saint Laurent creation. This one was covered in oily black sequins and featured a unique bust cutout and neckline.

2018: “Heavenly Bodies: Fashion & the Catholic Imagination”

The actor’s history of showing a lot of skin at the Met Gala can be traced back to 2018. That year, Kravitz attended the event in a one-armed, lace Saint Laurent dress with just two bows holding up the side.

2017: “Rei Kawakubo/Comme des Garçons: Art Of The In-Between”

Kravitz prioritized drama at the 2017 Met Gala, attending in a pale pink Oscar de la Renta gown with a cape that followed her as she ascended the stars.

2016: “Manus x Machina: Fashion in an Age of Technology”

While from the front, Kravitz’s Valentino fall 2010 haute couture dress seems pretty simple, the back revealed a giant bow that looked like wings from some angles.

Kravitz paired the mini with some tulle-covered shoes and a lace face mask from the same Valentino collection.

2015: “China: Through The Looking Glass”

In 2015, Kravitz wore a silver chainmail dress designed by Alexander Wang.

2014: “Charles James: Beyond Fashion”

A blonde bobbed Kravitz attended the Met Gala in 2014 wearing a low-cut red dress with a thigh slit from Topshop.

2011: “Alexander McQueen: Savage Beauty”

A 22-year-old Kravitz wore a Derek Lam two-toned dress to the 2011 event.

2010: “American Woman: Fashioning a National Identity”

Kravitz wore her most casual Met Gala look in 2010, a white tank and black column skirt from Alexander Wang for Gap, which she paired with a python skin clutch.

2008: “Superheroes: Fashion And Fantasy”

The actor attended her first Met Gala in 2008, wearing a mint green velvet dress and fur stole that could have been plucked straight out of the Roaring ’20s.

The impressive pool of 20 semifinalists competing for the annual LVMH Prize for Young Fashion Designers has been carefully narrowed to just eight names. The group hails from all walks of life, representing a variety of design techniques, business acumen, and technical skills. The one thing they have in common? A jury of industry all-stars saw something special in their work.

But the hard part is hardly over. On September 4, these eight designers will gather once again when the jury hands out the main Prize alongside the Karl Lagerfeld Prize and Savoir-Faire Prize. Last year, it was Soshiotsuki who received the big honor, with Steve O Smith, and Torishéju taking home the other two trophies, as well as the money and mentorship programs attached.

You may already recognize some of the names on the finalist list. Colleen Allen, Zane Li, and Julie Kegels have all been featured in the pages of W, while Daniel del Valle Fernandez made quite a stir last season with his debut collection for Thevxlley. But there are many brands still waiting for their moment in the spotlight, and the Prize could provide just the kind of support necessary to take their businesses to the next level. It’s never too early to familiarize yourself with tomorrow’s icons.

Colleen Allen

Designer: Colleen Allen

Location: United States

Specialty: Womenswear

Fans: Carey Mulligan, Hannah Einbinder, Lily Allen (no relation), Greta Lee, Mikey Madison, Ayo Edebiri

In just four seasons, Colleen Allen has managed to become a New York fashion darling. Really, though, it happened faster than that. Following Allen’s debut during the spring 2025 season, editors immediately took notice. Initially a menswear designer, Allen was introduced to womenswear during her time at The Row. Now, she is designing for her eponymous label, delivering seasonal collections that very carefully skirt a fantastical line. She’s often inspired by the mystical and spiritual, but she distills these ideas into distinctly modern collections. While some of her clothing can undoubtedly be described as “witchy,” what is more evident is the sense of a self-empowered woman dressing herself. A jacket is fitted at the waist and boasts Victorian-era hook-and-eye closures down the front, but its construction in fleece makes it contemporary (and a front-runner for your next hike). Her use of color has also been lauded, as she dabbles in poppy orange, saffron red, royal purple, and chartreuse. She picks her colors with care each season, the orange first entering due to its association with spiritual awareness. Most recently, Allen expanded into the accessory category with the release of bustle handbags, which can be worn under the arm or under the skirt. It is likely the first sign of major growth in the brand’s future.

De Pino

Designer: Gabriel Figueiredo

Location: France

Specialty: Womenswear

Fans: Lady Gaga, Hailey Bieber, Caroline Polachek, and Dara Allen

Gabriel Figueiredo staged his first runway show for his label De Pino during Paris Couture Week—a statement in itself. Amid the fait-main stalwarts came this young French label characterized by exaggerated silhouettes that provide a cheekiness to an otherwise sophisticated design language. Figueiredo is a student of fashion. Yes, he is a graduate of the Brussels visual arts school, La Cambre, from which he gained a master’s degree in fashion design in 2017, but his education extends beyond the purely academic setting. Figueiredo references icons like Lady Gaga and Martin Margiela (he’s done embroidery work for Maison Margiela), along with Tumblr, Style.com, and Nicolas Ghesquière’s Balenciaga days. In many ways, his designs embody this sense of nostalgia, but viewed through the eyes of a craftsman. “There’s definitely a childish vision of fashion,” he told W in 2024 after his debut. “It’s a mix between these really extreme sophistications, but also something childlike and fun.”

Institution

Designer: Galib Gassanoff

Location: Georgia

Specialty: Womenswear, menswear, and genderless

Galib Gassanoff could be considered a bit of a hometown hero. For three seasons, the Georgia-born designer has been championing the traditional craft and history of his country. For fall 2026, this meant employing weavers for three showpieces. They produced beautiful rugs, each of which required as many as 85,000 knots made from bouclé and felted double-face wool. The pieces brought color to a mostly neutral collection, as three models ended the show in beautifully crafted designs that were very obvious in their origins—rugs that had been draped on models in an obvious, yet still artistic way. Elsewhere, camouflaging was more central, as skirts and dresses made from shoelaces danced down the runway, creating incredible texture that needed to be studied to reveal its true nature. Fabrication is one of Gassanoff’s strengths, and he usually allows textiles to lead the way in his process, which has proven successful. But Gassanoff’s inspirations also carry weight. For fall 2026, the designer looked toward Georgian and Azerbaijani history—specifically, the story of women’s suffrage and political independence in those countries. Between the heaviness of history and the cheekiness of art and craft, Gassanoff has been able to thrive.

Julie Kegels

Designer: Julie Kegels

Location: Belgium

Specialty: Womenswear

When designing, Julie Kegels always thinks about women. That sounds like an obvious approach, but it’s the detail in which the Belgian designer considers her customer that makes the act unique. “I always have a group of women in mind, and they appear in different guises, in different stories,” she told W in 2025. “I think, Okay, this is for a woman who works at the library, is passionate about tennis, and loves to eat mango—I really get into the details.” The specifics are often where contrasts can be found. A working woman is one thing, but if she’s a working woman with three children who loves to spend her off days at the roller derby, she’s dressing very differently from her single-minded counterpart. And it’s within these contrasts and juxtapositions that Kegels finds inspiration. For three seasons (she launched in 2024), Kegels has been slowly amassing a fan base with her twisted classics. Last season, that meant a silk shirt dress imprinted with a shadow or a jacket featuring a cropped, rounded hem that gave the look of a woman walking with her hands on her hips. Kegels has mastered the art of surprise, but not at the expense of the clothes, which still boast an impressive level of wearability. “What I really love—and this is when things get interesting for me—is when something is a bit weird.”

Lii

Designer: Zane Li

Location: China

Specialty: Womenswear and menswear

Fans: Jennifer Lawrence, Ayo Edebiri, Greta Lee

Perhaps you’ve seen Jennifer Lawrence or Ayo Edebiri in an untraditional, layered fit recently—one that resembled a high-fashion take on the Joey Tribbiani moment in Friends when he asks, “Could I be wearing any more clothes?” Well, the women were dressed in Lii, one of the hottest brands of the moment. Founded by Chinese designer Zane Li after his graduation from the Fashion Institute of Technology, Lii rejects the fragility of fashion and instead focuses on the durable. This often means creating dresses and blouses from more traditional menswear fabrics. His inspirations of 1990s American sportswear and Cristóbal Balenciaga are clear within his work. Those seem like disparate ideas, but they encapsulate Li’s design ethos effectively. “People think that if you wear something ladylike or something old-fashioned and traditional, then you’re uncool,” he told W last year. “But I don’t think that way; I want to explore the possibility of putting practicality into glamorous dressing.” Li works with his husband, stylist Jason Rider, who helps with all aspects of the brand outside of designing. Together, the two have built Lii up to a fashion darling, one that mixes architecture and elegance with utility.

Petra Fagerström

Designer: Petra Fagerström

Location: Sweden

Specialty: Womenswear

Fans: Charli xcx

Petra Fagerström is creating fashion for the future by looking back. The Swedish designer uses traditional craft techniques to create modern designs. She launched her brand last year after graduating with her master’s from Central Saint Martins, and only just showed at fashion week for the first time. The theme for that collection stemmed from her experiences ice skating growing up in Gothenburg, an activity she gave up when she got into designing. The sartorial life of a skater was represented with sequins and fur trims, but also a warm-up top that could be an ancestor of the Dior Bar jacket. There is an understanding of fabrication, as well as a youthful excitement still prominent within Fagerström’s work. She utilizes an impressive technique of ironing and stitching to create optical illusions that blur right before one’s eyes. In an interview with Vogue, Fagerström spoke of her interest in cultural archetypes and if they “can be transformed into something sharper and more powerful, while rejecting the aspects of being a woman today that frustrate me.” That is clear in her first collection, but we will have to see where Fagerström takes the brand (and if the Prize will provide a boost to those endeavors).

Ponte

Designer: Harry Pontefract

Location: United Kingdom

Specialty: Womenswear and menswear

There’s an artistry in Harry Pontefract’s work. Some of it is immediately obvious, like a woman in his recent collection, Series Five, who’s surrounded by a dress of stockinged limbs in what could double as a museum-worthy sculpture. Other times, it’s more subtle, like a well-tailored suit with a charcoal-like glean, an effect that occurred when it was painstakingly colored in with pencils. The process took hours, which isn’t unique for Pontefract. And while he might work on a couture timeline, the results are impressively simple and wearable, something on which he prides himself. Of course, that isn’t true of everything (the stocking look may be hard to wear to the store). Pontefract understands that he sits within a space of juxtoposition “between art and fashion,” as he describes it to Vogue. And thus far, that placement has been a successful one for him. It’s Pontefract’s ability to combine the everyday with the unexpected that has turned him into a designer to watch.

Thevxlley

Designer: Daniel del Valle Fernandez

Location: United Kingdom

Specialty: Genderless

The line between art and fashion is even further blurred at Thevxlley (pronounced “the valley”). Daniel del Valle Fernandez grew up in Pilas, a small town near Sevilla, and moved to London at 19. He worked in floristry to make ends meet, so it’s no surprise that flowers seem to be a large theme of his work these days. They popped up repeatedly in The Narcissist, the collection he showed during London Fashion Week in February. Fernandez described the work as “a catalogue of obsessions.” It seems his focus was more so on those items—bread, ceramics, flowers—with their wearable nature becoming an afterthought. Fernandez pulled from his upbringing for the collection. His father is a baker, ceramics are ubiquitous in Southern Spain, and he even used his mom’s wedding dress. He was not traditionally trained, but learned from the craftsman whom he grew up around. The result is a physical manifestation of Fernandez’s creativity. A wooden corset acts as shelving for dozens of mini vases, while a dress is a still life blooming with wax flowers. Nothing is as it seems. A shirt is a vase, is a basket, is a loaf of bread. It’s confounding and strange, beautiful and funny. It’s fashion for art’s sake.

Yoshita 1967

Designer: Anil Padia

Location: Kenya

Specialty: Womenswear

Yoshita 1967 is all about craft—specifically the kind that hails from the cultures in which Padia was raised as an Indian boy growing up in central Kenya. After a short stint at Central Saint Martins, Padia went to Paris, where he spent time at Paco Rabanne, Y Project, and Jacquemus. There, he shaped his boyhood creativity into something more tangible. An early goal of Yoshita was to highlight often-overlooked skills from his upbringing. Because of that, all the crochet and embellishment details in his work are done by hand, a slow but rewarding process. A look through Padia’s debut collection, Temple Road, which showed at Paris Fashion Week, will find these techniques coming together in spectacular form. Brightly colored crocheted dresses are dotted with mirrors or little bells; the latter pops up throughout Padia’s work. “They are my obsession, because they hold so many layers at once: culture, dance, heritage, family memory,” he tells One. It’s a fitting symbol for Yoshita, which seems to encompass all of those things.

Sometimes it feels like fresh handbags are hitting the market every single day. Just moments after you swipe your card for a new going-out bag, a casual scroll through Instagram may reveal another contender. Every time Bella Hadid steps out on the town, or Dua Lipa posts a new photo, they have a new covetable carry-all by their side. It’s downright overwhelming, but it’s not surprising. Accessories have long been a major seller for luxury brands, and there’s an incentive to release new and updated pieces. Are we to blame for wanting them all?

The situation has gotten even bigger thanks to the constant designer debuts. It seems that whenever someone takes the helm at a brand, they’re expected to couple their first collection with a new bag. The spring 2026 season brought with it many inaugural collections from new creative directors—and now, we’re reaping the benefits. Since the beginning of the year, many bags have become available, and they’re already in the closets of fashion’s most influential faces. Yes, you can collect them all, but if you’re attempting to be more selective (and save a few bucks), see below for a breakdown of the year’s It bags, so you can determine which one (or two...or three) will be right for you.

Gucci Borsetto

The Gucci Borsetto is one of those handbags you know about before it even launches, because you see it on the arms of all your favorite It girls. Prior to becoming available to the public earlier this year, the accessory was already seen held by Alex Consani and Vittoria Ceretti. Since then, Demi Moore, Kate Moss, and Dua Lipa have given the design their expert seal of approval too (with Moss also starring in the bag’s campaign).

The name Borsetto comes from an amalgamation of borsa (Italian for “bag”) and morsetto (Italian for “horse bit”). Of course, the piece features Gucci’s iconic horse bit, placed on the front of the bag atop the house’s two-tone stripe. With an elongated zipper and detachable strap, the Borsetto allows for versatility; an array of colors offers a more subtle look—black leather, brown suede—or something a bit more flashy with the classic GG monogram.

Large Borsetto Boston Bag

Gucci -

Medium Borsetto Boston Bag

Gucci -

Bottega Veneta Veneta

Jacob Elordi has one of the best bag collections out there, and if he cosigns a design, it’s worth a second look. Of course, Elordi is a Bottega boy, so it’s no surprise the actor was one of the first to get his hands on the brand’s newest Veneta bag. The Veneta was first created in the ’70s by Bottega cofounder Renzo Zengiaro before being reintroduced under its current name in 2002. Last year, as part of spring 2026—Louise Trotter’s first with the brand—the Veneta was reimagined in four new sizes. The updated Veneta also features leather strips of 1.2cm width, padded out with a soft interior filler, allowing for a more cushioned feel. It has already proven to be a favorite of Julianne Moore, Olivia Dean, and Elle Fanning.

Maxi Veneta

Bottega Veneta -

Baby Veneta

Bottega Veneta -

Loewe Amazona 180

No, this isn’t just a list of Kate Moss’s favorite bags (we already did that). It’s just that the model is always on the cutting edge of accessories. That’s why it’s no surprise she was one of the first to get her hands on the new Loewe bag, one of the many spring 2026 designs that fall under the “Pickpocket Bags” category. When the Amazona 180 first appeared at Jack McCollough and Lazaro Hernandez’s debut show for the house, it was presented unzipped. And while you may have thought that was just a styling technique, here Moss is, proving the look can be taken to the streets (with caution).

Of course, the zipper does work, so those afraid of losing their phone need not fear—and the style also fits under the shoulder for extra protection. The Amazona 180 (named for Loewe’s 180th anniversary) also features a removable crossbody strap and comes in a variety of colors, as well as three sizes. Moss opted for the large in black leather, but the mini in blue makes for a perfect, bright addition of color to any outfit.

Large Amazona 180 Bag

Loewe -

Mini Amazona 180 Bag

Loewe -

Versace Pivot

Versace is championing the continuing domination of the bucket bag, a silhouette that has often been ignored by luxury brands despite its extreme popularity on the street. Straight from Dario Vitale’s debut (and only Versace show), the Pivot Bag leapt off the runway and onto the arms of Alex Consani, Chloë Sevigny, and Amanda Seyfried. It brings some color to this lineup, with offerings in cobalt blue and aquamarine suede. But those looking for something subtler will also be drawn to the black, camel, or chocolate brown leather. And, of course, upon the front lies the classic Versace Medusa emblem—lest anyone mistake the bag for another brand. It is flanked by a chain that swoops from the lip to the side strap for an extra flourish that feels quintessentially Versace.

Small Suede Pivot Bucket Bag

Versace -

Large Leather Pivot Bucket Bag

Versace -

Chanel Maxi Flapbag

The most elusive of this new crop of bags is undoubtedly Matthieu Blazy’s ludicrously capacious take on Chanel’s classic Flap. After debuting on the runway during the spring 2026 season (Blazy’s first with the brand), the collection released to much fanfare in March. Everyone wanted to get the bag, but most walked away empty-handed—adding, of course, to the appeal. It also helps, of course, that the purse is equal parts chic and practical, with its large size allowing for use as a work or travel bag. And while the layman may continue to struggle to add the Maxi Flapbag to their closet, Hailey Bieber, Kendall Jenner, Jennie, and even Harry Styles have been taunting us, flaunting their own acquisitions on the street.

Valentino Garavani Devain

Many of the bags on this list fall squarely in the “everyday” category, but with its latest offering, Valentino is suggesting an accessory for evening. First presented in the pre-fall 2025 collection, the Devain has been seen on everyone. And we mean everyone: Sabrina Carpenter, Dakota Johnson, Olivia Rodrigo, Hailey Bieber, Selena Gomez, Bella Hadid, Margot Robbie...the list goes on. That’s likely due to the versatility: the accessory comes in a wide swath of colors, fabrics, and embellishments, allowing one to mix and match, working the Devain into their existing wardrobe. There’s a denim version embroidered with flowers, a metallic blue one covered in sequins and beads, a completely crocheted option—and that’s just the tip of the iceberg. The many iterations make the bag feel customizable. And as an added bonus, the variety decreases the chance of you carrying the same bag as your best friend on a night out.

Devain Small Embroidered Velvet Shoulder Bag

Valentino Garavani -

DeVain Embroidered Small Shoulder Bag

Valentino Garavani -

It feels like we’ve been talking about The Devil Wears Prada 2 for eons. Ever since those first paparazzi shots from set appeared online last summer, the chatter has been non-stop. Now, for the past month, the stars of the film have been on a seemingly never-ending press tour, traveling from country to country for premieres, press conferences, and photo ops, with every stop turning into a headline-making moment.

That’s, of course, thanks in part to the stars’ rotating wardrobe. Wherever Anne Hathaway, Meryl Streep, and Emily Blunt go, there’s no question that an array of luggage follows. Every time we see one of the film’s main trio, they’re in another custom or right-of-the-runway ensemble. In fact, the other night, at the European premiere, the threesome all engaged in an unexpected outfit change, each debuting not one, but two show-stopping looks within the same evening. It’s enough to exhaust even the most ardent fashion or pop culture fan, so do not feel bad if you’re struggling to keep up. We all have jobs, kids, and lives to attend to; we don’t have time to keep track of this never-ending sartorial parade. Still, though, there are some notable moments in there (Streep, specifically, has been turning out some must-see outfits). So, to make sure you don’t miss even one, we’re rounding up all the looks from the DWP2 press tour. That’s all.

After an array of premieres, Anne Hathaway stepped into a slightly more comfortable look as she continued to promote the The Devil Wears Prada sequel in London. The actor wore a gray knit set featuring a peplum top hemmed in fur from Stella McCartney fall/winter 2026. She paired the ensemble with suede maroon So Kate pumps from Christian Louboutin and Bulgari sunglasses.

The real star of Streep’s European premiere look is the custom Judith Leiber Runway clutch, which she wore with her sophisticated satin Prada ensemble.

Hathaway was joined by Donatella Versace at the European premiere, which was appropriate considering the actor wore a midnight blue, velvet Atelier Versace dress featuring a nude illusion corset and Medusa buttons down the front.

The trio was completed by Blunt, who, like Streep, wore pants to the European premiere, albeit with an overskirt. The ensemble was courtesy of Balenciaga spring 2026.

Following the premiere, the women attended “A Night With Runway” gala reception, for which a wardrobe change was necessary. Streep broke the unspoken black, white, and red dress code for the evening, but it was worth it given the high glamour of this sequin-covered Richard Quinn fall 2023 coat.

Hathaway, meanwhile, changed into a custom striped Louis Vuitton gown featuring a layered skirt, which she paired with Bulgari jewelry.

Freeing her legs, Blunt arrived to the second event in a lace mini dress from Dior spring/summer 2026 couture, which she wore with Jimmy Choo platform heels.

The red looks continued at the New York premiere, where Streep showed up in an Andre Leon Talley-adjacent cape dress from Givenchy by Sarah Burton fall 2026.

Hathaway matched her costar in another custom Louis Vuitton dress. This one boasted a silk bustier corset top and exaggerated tea-length skirt.

Blunt broke up the sea of red by attending the New York premiere in an extremely dramatic look from Schiaparelli spring 2026 haute couture.

Later, she got more comfortable and changed into a Balmain fall 2026 top and skirt to attend the premiere after party with her husband, John Krasinski.

I think we can all agree that this Gucci fur coat was basically made to be worn by Streep.

Suiting has been a staple for Streep throughout this press tour. She headed to the SiriusXM studio on April 20 in a black tailored Celine look featuring not one, not two, but four belts, and Bared Footwear boots.

Another NYC outing called for a Dolce & Gabbana maroon patent leather trench, which Streep threw over a Gabriela Hearst dress and finished off with a suede Manu Atelier bag.

Hathaway promoted the sequel on The Late Show With Stephen Colbert in a Versace fall 1991 black mini dress, originally worn by Naomi Campbell on the runway.

Is that Meryl or Miranda? It’s honestly hard to tell. We could totally see the Runway boss in this Saint Laurent fall 2025 satin coat dress.

Hathaway went in a slightly more demure direction to promote DWP2 in Shanghai. The actor wore a tulle-covered Susan Fang fall 2026 dress, quite the contrast to Streep’s look.

If there’s a red suit out there, someone from the DWP2 cast nabbed it for the press tour. Here, we see Streep in a Prada double-breasted jacket with wide-leg pants for a press conference in Seoul.

Clearly, volume is one of the themes of this press tour, and Hathaway hit the brief when she attended a press conference for the film in Seoul wearing this Vaquera spring 2026 look.

The Seoul premiere of DWP2 called for an all-black Celine look featuring high-waisted pants, a draped top, and a leather belt to pull it all together.

Hathaway first got into the red theme in Seoul, when she wore a leather Balenciaga fall 2026 set to one of the movie’s first premieres.

Some of Streep’s best looks this press tour haven’t even been on the red carpet. Here, we see the actor en route to The Late Show with Stephen Colbert wearing a leopard print Givenchy by Sarah Burton pre-fall 2026 pussy bow coat, accessorized with The Hudson bag from DeMellier.

The two DWP2 stars attended a Mexico Fashion Week event in contrasting looks. Streep wore a dark blue Schiaparelli shirt dress while Hathaway opted for a Stella McCartney fall 2026 sequined mini with the same thigh-high boots from the runway.

Hathaway and Streep kicked off the press tour in Mexico back in March. Hathaway wore Schiaparelli fall 2025 to the first event, while Streep set the red precedent in a custom Dolce & Gabbana suit.

The house of Dior is no stranger to a museum show. Over the years, the Brooklyn Museum, V&A in London, The Metropolitan Museum of Art, and many more have showcased the artistry of the French fashion brand, with exquisite couture garments also traveling to Paris and Seoul, then back again. Evolving the narrative of a Dior exhibition, or presenting something that a globe-trotting fan hasn’t already experienced in Dallas, Riyadh, or Australia, becomes a hurdle. But Dior: Crafting Fashion, on view now at the SCAD FASH Museum of Fashion + Film in Atlanta, Georgia, handles the task with ease. Using the university environment as a guide, the latest in a long line of unforgettable Dior expositions manages to find a fresh perspective.

Hélène Starkman, the exhibition curator for Christian Dior Couture and the curator of Crafting Fashion, calls the new show “Dior 101.” This is the first time the brand’s gotten the opportunity to showcase within a college setting. “Students are at the heart of this exhibition,” she tells W. While Crafting Fashion is for any style buff lucky enough to find themselves in the Atlanta area, it’s the Savannah College of Art and Design students who drove Starkman’s curatorial decisions.

“Students need to understand that, to be creative, you have to have your own internal mood board,” she adds. “Sometimes, when you’re young, you think creation will come from within.” With Crafting Fashion, Starkman shows these students the need for artists to explore outside their chosen creative bubble.

Crafting Fashion begins with a breakdown of Dior’s eight creative directors, from founder Christian Dior himself to the recently appointed Jonathan Anderson. The first display features just eight garments, one couture look from each director. Each piece was inspired by something outside the world of fashion. A red velvet suit by Dior acts as an homage to Monsieur Dior’s close friendship with artist and illustrator Christian Bérard. A simple black dress with a structured, pleated skirt by Yves Saint Laurent references French New Wave cinema, and a splattered Marc Bohan creation brings to mind the work of Jackson Pollock.

“It’s important to show students that all these designers are museum-goers and theater-goers,” Starkman says. Anyone who is a fan of Anderson’s knows he is continuing that legacy; he championed the Loewe Craft Prize during his time with the Spanish brand, and his first few collections with Dior have proven he is bringing his love of ceramics and classic books to the new gig. A dress from Anderson’s first Dior couture collection—which concludes the opening gallery—was directly inspired by Kenya-born artist Magdalene Odundo, in all its onyx and shapely glory.

The first room represented the kernel of an idea—next comes the process, conveyed through the second gallery, where dreamy designs are boiled down to their most elementary parts. It’s not often one visits a couture exhibition and is faced with mannequins dressed in muslin, but that peek into the process allows Crafting Fashion to stand out from its predecessors. The pieces of fabric stand next to their finished counterparts, scribbled upon and pinned with embellishment prototypes. It’s a reminder (for students, but those with degrees as well) that high fashion does not bloom overnight.

Crafting Fashion isn’t the first exhibition Dior and SCAD have done together. Last year, the fashion house and university worked on Christian Dior: Jardins Rêvés at the school’s Lacoste campus in France. Those unable to make it to Provence, however, can now step into Crafting Fashion’s third gallery, where the focus is on the garden—a major theme for Christian Dior, the son of a fertilizer manufacturer. Dior often looked to florals for inspiration, and his successors frequently returned to the botanical world as well.

Dior fans will recognize many of the garments in this section, like the herbarium dresses from Maria Grazia Chiuri’s first couture collection. An orange floral dress with a strapless bodice and voluminous bubble skirt, meanwhile, is a rarer find. Known as the Mexico dress and created by Saint Laurent, the piece was only recently acquired by Dior and is displayed in Atlanta for the first time.

Also making its museum debut is an orange skirt-and-jacket set, which actor Olivia de Havilland wore to the Atlanta “re-premiere” of Gone With the Wind in 1961. In the final room of the exhibition—the largest one—Georgia history comes into play once again with the inclusion of a Chiuri-designed bar suit homage: Georgia-born actor Elle Fanning wore the look to the Cannes Film Festival in 2019. This last area is dedicated to celebrity dressing, where everyone from Marilyn Monroe to Rihanna is represented in the form of jaw-dropping Dior gowns.

Documents decorate the galleries, providing context, sketches, and a behind-the-scenes for nearly every garment. There is much more paperwork in Crafting Fashion than one will find in other Dior exhibitions (but don’t worry, you won’t be tested on the matieral.) With these inclusions, Starkman hopes to show SCAD students that “designer” isn’t the only job in fashion.

“You can work in the atelier and actually sew the garments,” she says. “You can create accessories, bags, or hats. You can work on the perfume, the makeup, the fashion shows.” Or, you can design exhibitions, and if Crafting Fashion were a SCAD assignment, Starkman would receive an A+.