‘The Devil Wears Prada 2’ Opens to $114.6M Globally as Sequel Dominates International Box Office

Key facts

• Global box office reached $114.6M through Friday, with $82.1M from 51 international markets and $32.5M from North America.
• The sequel posted the highest opening day YTD in Brazil, Italy, Japan (non-local), Korea, Australia, and 11 other territories.
• Italy leads offshore territories with $9.7M, commanding 78% of the weekend’s market share.
• Japan opened to No. 1 on Friday, marking the highest MPA opening day YTD.
• The film is No. 1 in nearly all global markets except Netherlands, South Africa, Bolivia, and Ecuador.
• Costume designer Molly Rogers, who worked on the original film, created new mood boards incorporating stacked necklaces, tailored vests, and hats, with sartorial callbacks to the 2006 original.

Sequel’s Global Box Office Surge

The Devil Wears Prada 2 has amassed $114.6 million at the global box office through Friday, with $82.1 million coming from 51 international markets and $32.5 million from North America including previews. The David Frankel-directed sequel is on track to reach an $180 million global opening by Sunday. Friday’s overseas total alone was $27.5 million, bolstered by Labor Day holidays across Europe and Latin America. The film has claimed the No. 1 spot in nearly every market, with exceptions only in the Netherlands, South Africa, Bolivia, and Ecuador.

Record-Breaking International Performance

the sequel posted the highest opening day of the year in Brazil, Italy, Japan (non-local), Korea, and Australia, as well as in Belgium, Bulgaria, Saudi Arabia, UAE, Greece, Ukraine, Poland, Turkey, New Zealand, Taiwan, and the Philippines. Italy leads offshore territories with $9.7 million, representing 78% of the weekend’s market share and marking Disney’s fifth-highest opening of all time in the country. Brazil contributed $6.6 million with a 72% market share, while Mexico’s $6.3 million made it the second-highest opening day YTD on Thursday. Germany stands at $4.9 million, commanding 50% of the weekend’s market share, and China opened at $4.9 million on Thursday, maintaining the No. 1 spot with a 62% market share.

Domestic and Asian Market Highlights

In North America, the film earned $32.5 million through Friday, with a projected $75 million to $80 million domestic opening. The UK opened on Friday with $4 million, securing the second-highest opening day of 2026 and a 57% market share. Australia posted $4.5 million with a 62% market share, its Thursday opening the highest YTD. Korea has accumulated $2.8 million since its Wednesday opening, also the highest YTD, with strong social scores: Naver 9.43 and CGV 93%. Japan opened to No. 1 on Friday, achieving the highest MPA opening day YTD. India saw the second-highest opening day YTD, though Disney did not provide gross figures for Japan or India.

Costume Designer Molly Rogers Returns with Maximalist Vision

Costume designer Molly Rogers, who worked alongside Patricia Field on the original 2006 film, has returned for the sequel, bringing her signature maximalist, technicolor style. Rogers, who parted ways with Field in 2020 to work on the Sex and the City reboot And Just Like That…, created new mood boards for Meryl Streep and Anne Hathaway, incorporating current trends such as stacked necklaces and tailored vests, as well as her own obsession with hats. For Streep’s character Miranda Priestly, Rogers designed a series of bejewelled jackets, reflecting a character who appears to enjoy fashion more than in the first film. As fan service, she included sartorial callbacks to the original, such as references to the iconic Chanel boots Hathaway wore in 2006.

The Art of Renaming: ‘The Woman Who Loves Luxury Goods 2’

The sequel’s Vietnamese title, The Woman Who Loves Luxury Goods 2, has drawn attention as a more descriptive alternative to the original English name, which some argue could be misinterpreted as a horror film or a documentary about late-stage capitalism. The practice of renaming foreign films for local markets is widespread, with examples including the Czech Republic’s Santa Is a Pervert for Bad Santa and China’s I Will Marry a Prostitute to Save Money for Pretty Woman. While some titles improve clarity, others risk spoilers, such as Mexico’s Thelma and Louise subtitle An Unexpected Ending. The most famous mistranslation myth—that James Bond films were known as Mr Kiss Kiss Bang Bang—originated from an Italian journalist in 1962, though no film ever bore that title. The trend also works in reverse: the Swedish film Fucking Åmål was renamed Show Me Love internationally, losing its provocative edge.

Outlook and Cultural Impact

With a strong global opening and positive audience scores, The Devil Wears Prada 2 is poised to become one of the year’s top-grossing films. The sequel’s success underscores the enduring appeal of the franchise, which introduced phrases like “That’s all” into the cultural lexicon. As the film continues its run, discussions about foreign-language title adaptations highlight how marketing can shape audience expectations. Should the film perform well enough to warrant a third installment, the Vietnamese title offers a template: The Woman Who Loves Luxury Goods 3. For now, the sequel’s box office dominance and costume design innovations reaffirm the franchise’s place in contemporary cinema.

The bottom line

• The Devil Wears Prada 2 earned $114.6M globally through Friday, with $82.1M from international markets and a projected $180M opening weekend.
• The film set opening day YTD records in 17 territories including Brazil, Italy, Japan, Korea, and Australia.
• Costume designer Molly Rogers returned, creating bejewelled jackets for Meryl Streep and incorporating trends like stacked necklaces and hats.
• The Vietnamese title ‘The Woman Who Loves Luxury Goods 2’ exemplifies the common practice of renaming films for local markets, often improving clarity.
• The sequel’s strong social scores in Korea (Naver 9.43, CGV 93%) indicate positive audience reception in key Asian markets.
• The film’s box office performance and cultural resonance suggest potential for further sequels, continuing the franchise’s legacy.