The sunglasses are the Khaite 1961C in black — $590 direct from Khaite, $709 from Oliver Peoples, who make them. The Runway bullpen is furnished with Eames Aluminium Group task chairs, around $2,814 from Herman Miller or Vitra. The Milan hotel furniture is Misha Kahn, and you effectively cannot buy it.
That last one is the honest part most coverage skips. This film's interiors mix things you can order today with gallery pieces that exist in single figures, and telling them apart is the whole job of a page like this.
The sunglasses
The film made $691M worldwide, and its single most-searched object is a pair of black sunglasses.
They are the 1961C, a collaboration between Khaite and Oliver Peoples — handmade in Italy, currently sold on both brands' sites:
| Where | Price |
|---|---|
| Khaite | $590 |
| Oliver Peoples | $709 |
Same frame, two storefronts, a $119 gap. Buy from Khaite unless you have a reason not to.
A note on how we know: the film attribution here comes from sunglasses-identification databases rather than a statement from Khaite, Oliver Peoples or the costume department. The product is unambiguously real and on sale; the on-screen link is spotter-sourced. We would rather say that than imply a brand confirmation that does not exist.
The chairs everyone is asking about
The Runway office is furnished with Eames Aluminium Group task chairs — the low-back office version, around £2,100 / $2,814 from Herman Miller in the US or Vitra in Europe.
These are worth understanding, because a lot of people see them in this film and assume they are a prop or a discontinued classic. They are neither. Charles and Ray Eames designed the Aluminium Group in 1958, and it has been in continuous production ever since. You can order one tomorrow.
Why a production designer picks this chair: it reads as expensive without reading as new. It has been in the offices of design-conscious companies for sixty years, which means it signals institutional taste rather than a recent refurbishment budget. For a fictional magazine that is meant to have mattered for decades, that is exactly right.
Whether you should buy one: honestly, only if you sit in it all day. At nearly $3,000 it is not a decorative purchase, and the mesh-and-leather sling that makes it beautiful is less supportive than a modern ergonomic chair with lumbar adjustment. It is a gorgeous object and a mid-tier office chair. Both things are true.
The cheaper honest route: the design is endlessly copied, and most copies are bad — the sling tension and aluminium side rails are precisely what makes the original work, and precisely what gets cheapened. If the budget is not there, we would buy a good modern task chair rather than a poor Eames replica. You will sit better and you will not be pretending.
The furniture you cannot buy
The Milan hotel sequence uses work by Misha Kahn (documented by Film and Furniture) — specifically an Ammonoid Beta armchair (2020) and a Bois Brûlé sofa (2023).
Kahn is a gallery artist rather than a furniture manufacturer. These are one-off or very-small-edition pieces sold through galleries and collectors, at prices that are negotiated rather than listed. There is no product page, no waiting list, no "similar item."
This is worth stating plainly because a page that lists them alongside the sunglasses, with no distinction, is misleading. If you loved that room, what you loved is a sculptural, biomorphic, hand-made aesthetic — and the route to that is a small independent maker or a vintage piece with real character, not a search for the exact chair.
Also in the film's interiors: a Meltdown floor lamp by Johan Lindstén and a sofa identified only as a "Kevin" in the coverage we found — the designer is named but the manufacturer is not, so we have not chased a price we cannot stand behind.
Who actually made these rooms
Production designer Jess Gonchor and set decorator Stephanie Q. Bowen — Paper spoke to them about the film's design.
That matters for a reason beyond credit. The first film's Runway was defined by its costumes, and the offices were a neutral white backdrop. This one puts real design history into the set — Eames in the bullpen, contemporary gallery work in the luxury spaces — which is a deliberate statement about a magazine trying to prove it still has taste in a changed industry.
You can read the room, in other words. That is what good set decoration does, and it is why the furniture is worth writing about at all.
What the first film's fashion taught us, and why interiors are different
The 2006 original made a generation search for a Chanel boot. Nearly twenty years on, that wardrobe is thoroughly documented and largely unbuyable — the pieces are archive, the sizes are gone, and the resale market has priced in the nostalgia.
Interiors age differently. The Eames chair in the new film is the same chair, at the same list price, from the same manufacturer, that it would have been in 2006. Design classics do not go out of stock. If you are trying to own something from a film, the furniture is very often the more attainable half — which is the opposite of what most people assume.
The Eames chair, and what "authentic" means here
One thing worth knowing before you shop, because the replica market for this design is enormous and confusing.
The Aluminium Group is licensed to exactly two manufacturers: Herman Miller for North America and Vitra for Europe, the Middle East and Africa. Both are authentic. Anything else — regardless of what the listing says about "genuine Italian leather" or "Eames-style" — is a copy, and the copies are where the money is saved in exactly the wrong places.
The tell is the side rails. On the real chair, the seat sling is stretched under tension between two cast aluminium ribs, which is what lets a thin panel of leather support a person comfortably. Copies typically use a padded seat bolted onto a frame that only looks similar, and the difference is immediately obvious the moment you sit down.
If you want the Runway look for less
Three things carry it, and only one is expensive:
- One good chair, visible. A single well-designed chair does more than a room of adequate ones. If not the Eames, buy the best-designed thing you can actually afford and let it be the object in the room.
- Nothing on the surfaces. The bullpen reads as expensive because it is disciplined. Clear desks, no clutter, no decorative objects. That is free.
- Warm metal, cool light. The palette leans on aluminium and glass under even, cool lighting. A daylight-temperature bulb costs almost nothing and changes a room more than furniture does.
FAQ
What sunglasses are worn in The Devil Wears Prada 2? The Khaite 1961C in black — $590 from Khaite, $709 from Oliver Peoples, who manufacture them. Both are current and in stock.
Why do the same sunglasses cost different amounts? They are sold through two brands from one collaboration. Khaite's own price is $119 lower for what appears to be the same frame.
What chairs are in the Runway office? Eames Aluminium Group task chairs, around $2,814 from Herman Miller or Vitra. They have been in continuous production since 1958 and are not a discontinued or prop item.
Can I buy the furniture from the Milan hotel scenes? Realistically no. Those are Misha Kahn pieces — gallery artworks in tiny editions, sold privately rather than through a shop.
Are the Eames chairs worth the money? As objects, yes. As office chairs, they are outclassed for comfort by cheaper modern ergonomic seating. Buy one because you want that specific chair, not because you want the best chair to sit in for eight hours.
Are the replicas any good? Generally not. The sling tension and aluminium rails are what make the original work and what get compromised in copies. A good modern task chair is a better use of the same money.
Who designed the film's sets? Production designer Jess Gonchor with set decorator Stephanie Q. Bowen.
Is the furniture confirmed by the production? The pieces have been identified in design-press coverage of the film's interiors rather than announced by the brands. We have flagged where an identification is spotter-sourced rather than brand-confirmed.