Meryl Streep brought a deliberate dash of fashion theatre to The Late Show with Stephen Colbert, slipping a cerulean cable-knit under a dramatic leopard topcoat as the actress begins promotional work for The Devil Wears Prada 2. The layered look — a wink to the original film’s iconic blue sweater — was part costume callback, part contemporary press uniform for a star stepping back into the role of Miranda Priestly.
On arrival, Streep wore a spotted leopard coat by Sarah Burton for Givenchy, its exaggerated proportions playing up the editrice silhouette: an oversized pussy‑bow at the neck, billowing sleeves and an elongated hemline that read more runway than sidewalk. Beneath it, visible while she chatted on the show, was a J.Crew cable-knit sweater in a clear cerulean blue — the same hue that once sparked a memorable lecture on fashion hierarchies in the 2006 original. This iteration lacked the white Oxford layer seen in the film but otherwise registered as an unmistakable sartorial nod.
The rest of Streep’s ensemble leaned into current trend notes while keeping a Priestly edge. She paired the outerwear with tight black trousers — a skinny-jeans revival silhouette that appeared painted on — and slingback shoes. Accessory choices underscored the workwear fantasy: Streep carried Demellier’s Hudson top-handle bag, a structured style that has been spotted recently on Katie Holmes and Emily Ratajkowski, and completed the look with cat-eye glasses. Photos of the appearance were distributed by Getty Images and CBS, underscoring the tightly staged promotional moment.
Those who have watched the sequel’s early press tour will see the look as part of a broader dressing strategy. In Mexico City, Streep’s first appearances included a Schiaparelli shirtdress and a Dolce & Gabbana power suit in a punchy red, signaling a high-fashion spin on the career woman’s uniform. Behind these choices is stylist Micaela Erlanger, whose approach appears to toy with “method dressing” — aligning Streep’s public attire with the tone and iconography of her character without resorting to costume.
The cerulean sweater, in particular, arrives at a moment when the color is enjoying renewed attention in fashion conversations tied to the film’s promotional rollout. Industry observers have noted a resurgence of the blue hue this spring, and Streep’s conspicuous reference to the original’s knit has already been read as both playful marketing and an aesthetic through-line between the two productions.
Whether the looks are intended to provoke, amuse, or simply sell tickets, they are accomplishing the primary objective of modern press dressing: creating shareable images that amplify the film’s cultural touchstones. Streep’s Late Show ensemble — equal parts homage and headline — makes clear that, in the era of sequels and cinematic callbacks, wardrobe can be as much a storytelling device as a character trait.