Power has a new aesthetic. Runway Magazine his back, and its interiors have evolved as sharply as the fashion it dictates. Where the original The Devil Wears Prada gave us polished gloss, the sequel moves into something more curated. Join us as we take a look at the furniture and design details of The Devil Wears Prada 2.

Miranda Priestly’s Office

In 2006, Miranda’s office was build around contrast. Black, white, hard edges. Intimidation expressed through space.

In The Devil Wears Prada 2 the palette shifts to warm creams and pale woods. A light timber-topped table appears with a soft, more architectural presence.

A curved white sofa anchors the room, paired with symmetrical sculptural lamps that nod towards 1930s French interiors.

Miranda’s bar cart returns. So does the antique octagonal mirror.

Andy’s Office

Andy’s space reintroduces warmth. A caramel-toned sofa sits against the window, softened with patterned cushions. Light wood joinery wraps the desk and shelving, layered with books, framed photography, and personal objects.

The furniture suggests decisions made over time and even the desk arrangement reflects this. A working surface integrated into the room. A place to sit with, not across from.

The Runway Office Bullpen

The Runway office is an expansive open-plan space. Rows of workstations made up of white desks, integrated screens, and white Eames Aluminium Group-style task chairs appear across the floor.

The Dressing Room

The closet sequences move into a different register with high-gloss cabinetry, floral wallpaper and mirrored compartments.

A central island lined with drawers, means every item is visible and within reach. The scale has increased, but so has the precision. Costume designer Molly Rogers and production designer Jess Gonchor reshape the room to reflect a new fashion economy. Less magazine archive, more content machine.

If New York is pared back, Milan is dialled up.

The Milan Hotel Suites

Set against the backdrop of Palazzo Parigi, the Milan scenes lean into grandeur. Marble, sweeping staircases, layered architectural detail. Though filmed at Winfield Hall in New York, the interiors are dressed to evoke Italian opulence at its most theatrical.

And then the furniture and art that have honestly made our hearts sing! Pieces by Misha Kahn appear throughout the suites. Sculptural furniture and lighting that feel closer to art, such as the colourful sofa Bois Brûle and the Ammonoid Beta chair.

Organic forms and unexpected materials create a deliberate clash with the classical envelope of the rooms.

This is where the film becomes most interesting. The tension between old-world architecture and contemporary collectible design gives these scenes their energy.

Lily’s Loft

Back in New York, Lily’s apartment pushes further into maximalism, but edited. A deep red velvet Kevin Sofa grounds the living space. Substantial, low, and unapologetically present. Opposite, a Tavamo side table sits on a black pedestal base, graphic and precise.

Lighting becomes sculptural. The Meltdown floor lamp by Johan Lindstén, with its blown-glass spheres, reads as both object and atmosphere.

And then the artworks. More pieces by Misha Kahn, including a hand-woven mohair tapestry which is so gorgeous it stopped us in our tracks, and one of their dark blue lamp sculptures placed near the stair. They define the room and we’re seriously in love.

Here, we also find a pair of Amy Sherald portraits , three still life pieces by Anna Wayent, four smaller very colourful Marco Castillo paintings, along with works by Tschsbalala Self, Ellen Berkenbilt and the Bolotas Apple by Estudio Campana.

The overall effect is layered, expressive, and confident. A space that reflects someone who has found her footing and chosen to show it.

The first film gave us aspiration through familiarity. The sequel deals more in curation, contrast, and the confidence of knowing exactly what to place and what to leave out.

Don’t just watch the characters. Read the room!

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