We Spoke to the MUA Behind ‘The Devil Wears Prada 2’ (and It Was Groundbreaking)
May 15 | 7 minute read
Words by Madeleine Boles de Boer
It’s the job that a million girls would kill for. Born in Germany, Nicki Ledermann moved to New York in the ’80s to pursue a career as a makeup artist. After getting her start in independent film, she moved into television and studio features, was part of the team responsible for bringing cultural juggernauts like Sex and the City and The Devil Wears Prada to life. Emily’s striking jewel-toned (dare we say, cerulean) eyes, Andy’s transformative Paris Fashion Week red lip – all brought to the screen by the creative vision and deft hand of Ledermann.
That classic red lip from the 2006 film reflected Andy’s growing sense of self as she turned her back on the Runway dream (for now). It’s a look that’s eternally appropriate, whether you’re sitting front row at Fashion Week or a hideous skirt convention. A red lip remains as relevant now as it did then – and for the release of The Devil Wears Prada 2, MECCA MAX even made an exclusive limited-edition Runway Red Lip Duo. Our tip: pair the Pout Pop Matte Lipstick in ‘Personal Brand’ and the Pout Pencil in ‘Stylish’ for your very own makeover montage.
In the 20 years since the first film, Ledermann has leant her considerable skill to projects such as The Greatest Showman, Joker and The Gilded Age, earning her an Emmy and nominations for BAFTAs and an Academy Award. Her latest project brought her back to the world of Elias-Clarke as the makeup department head on The Devil Wears Prada 2. Ledermann was presented with the challenge of remaining true to the beloved characters of two decades ago, reimagined through a 2026 lens.
How would Miranda, Emily and Andy approach beauty in the world of filters, celebrity brands and faster-than-ever trend cycles? The answer: by remaining authentically themselves, of course.
Here, Ledermann discusses beauty languages, clarity over reinvention and the classic timelessness of Miranda Priestly with the MECCA Memo.
Where did your interest in beauty begin, and how did you get your start as a makeup artist?
Nicki Ledermann (NL): “Every morning, I watched my mother put on her signature eyeliner before starting her day. I thought it was so beautiful; I was fascinated not only by the artistry of it but also how it gave it her trademark look. That never left me. She taught me that beauty is originality and character. I went to a high school of the performing arts in Munich, hoping to maybe become a musician, but then decided to move to New York in the late 1980s to become a makeup artist due to my love for character and storytelling in movies.
“I worked my way through the indie film scene of the ’90s, and eventually into studio pictures and collaborations with Scorsese, Soderbergh, the Coens. Joker brought an Academy Award nomination — something I’m proud of. But it all goes back to my mother at her mirror.”
NL: “Makeup is not decoration. It is identity. Whether it is beauty makeup, facial hair, tattoos, special effects. The most powerful choices are not about conventional beauty or ‘correction’. They are about expressing personality so specifically that character to make it into their trademark – after all, beauty is in the eye of the beholder.”
© 2026 20th Century Studios
Fashion plays such a major role in The Devil Wears Prada 2 — how do you collaborate with the costume department to ensure the beauty looks feel cohesive?
NL: “In a film where clothes are practically characters, makeup must work to not only complement but also finalise the look as a whole. The conversation with costume is always about balance. What is the clothing saying? What does the overall look need to add that the clothing cannot or vice versa. A strong costume tempts you to pull back. Sometimes the face needs an equal voice. We start the conversation early on in prep, as the collaboration is imperative to create a believable character.”
NL: “Three women. Three distinct beauty languages. Miranda’s signature was created by Roy Helland and carried through seamlessly by Donald McInnes. It is unwavering, consistent, a quiet refusal to be influenced by anyone by staying classic and neutral. Emily’s bold, striking looks, flawlessly rendered by Evelyn Noraz – eyes so specific to her they could belong to no-one else. Andy is the fluid one, her look shifting with whoever she is becoming, but always staying true to herself with her signature lip.” [Editor's note: Ledermann was the makeup department head and artist for Anne Hathaway on The Devil Wears Prada 2. Emily Blunt’s MUA was Evelyne Noraz, and Meryl Streep's was Donald McInnes].
© 2026 20th Century Studios
NL: “Subtly and deliberately. What has shifted is ownership. They wear their looks now. The sequel’s mood is earned authority, not aspiration. These women know who they are, and that ‘settledness’ shows in everything, it is not reinvention, it is clarity.”
Do you have a favourite or standout beauty look from The Devil Wears Prada 2?
NL: “Anne in the blue dress is stunning and the Italian montage carries a beautiful variety of smoky eyes I am genuinely proud of. Emily’s signature eyeliner is cool in the truest sense, bold, specific. And Miranda looking exactly as she did 20 years ago was the right call, and she looked stunning still. These looks have become inseparable from who these women are. That to me is deeply satisfying.”
© 2026 20th Century Studios
How does doing personal makeup for Anne Hathaway differ from creating a character look for her on-screen?
NL: “With personal work, you serve the person – their preferences, their confidence, how they want to move through a room. With character work, you serve the story. Anne understands that distinction completely, which makes her an extraordinary collaborator for both. For Andy, every choice had to belong to someone else’s life while remaining entirely believable on Anne’s face. That tension – between actor and character – is where the most interesting work happens.”
The Devil Wears Prada 2 is in cinemas now.
