The sequel to "The Devil Wears Prada" claims the biggest opening weekend in the Philippines this 2026, according to 20th Century Studios Philippines. There are too many iconic fashion moments to count, but it is the famous “Cerulean” monologue from the franchise’s first film that continues to resurface. In the scene, Runway magazine’s editor-in-chief, Miranda Priestly, explains how a shade of blue “trickles down” and lingers as shorthand for a much larger system, one where taste is not spontaneous but constructed through editorial authority, luxury gatekeeping and institutional power long before it registers as a trend.
“Fashion is never just about clothes,” Cebuano designer Ia Coca said in a SunStar Lifestyle interview, “it’s inherently political. There are always layers of influence, power dynamics and unseen systems behind what we eventually see on the surface.”
“The Atrium” as exhibition
With the film’s record-breaking momentum in the Philippines, its influence has materialized through installations that bridge cinema and fashion. At SM J Mall, “Fashion Avenue at The Atrium” transforms retail space into a walk-through exhibition of local design, foregrounding Cebu’s creative ecosystem through the works of fashion designers Coca, Eva Aguspina-Cuizon, Ayka Lim, Reynan Paul, Philip Rodriguez, Edwin Ao, Protacio, Phillip Tampus, Wendell Quisido and Marichu Tan.
For Coca, his inspiration is a direct reference of the sequel’s movie poster that demonstrates theatricality. The resulting piece, a deep red silhouette structured tightly through the body, extends into a sculptural collar that frames the shoulders. “Exaggeration with restraint,” he explained. “I wanted to explore drama, bold silhouettes, rich textures, but always grounded in control. It’s about knowing when to push and when to pull back. I want the piece to feel expressive without becoming overwhelming.”
That same dialogue between past and present surfaces in the work of designer Aguspina-Cuizon, who chose to exhibit a piece from her own archive. “I chose a dress I made many years ago, one that’s already a crowd favorite,” she shared with SunStar Lifestyle. “It felt fitting because the film reflects how fashion continues to evolve while still holding onto its core. For me, it’s not always about replacing the old with something new, but about seeing something old through fresh eyes.”
Designed over a decade ago for her graduation show, the piece draws inspiration from a distinctly character-driven reference. “It was inspired by The Addams Family,” she said. “They’ve always been unapologetically themselves and I think that mirrors the fashion world. It leans more into character-driven styling, but still feels very “fashion.’’
The dress itself is decidedly playful, with a skirt cascading into layers of dramatic wine-red ruffles and airy tulle.
Maria Lava’s fight for visibility
Lava, a Cebuana drag artist and 2024 national drag competition representative, was also present. “She had to advocate for herself and for the drag community to be represented in the event and, gladly, SM J Mall listened,” said Coca.
When Coca offered to connect her to the mall and to dress her up, the piece was already waiting in his shop — black and red and fiery in presence. For Lava, it immediately resonated: “It felt like the devil, but it also felt like me because of ‘Lava.’ It represented both.”
For her, the experience became a turning point in visibility and voice. “If you stay silent, nothing shifts — but when you speak up, people can listen.”
Creative ownership is power
In response, the garment was conceived not as ornament but as argument. “When someone claims space like that, the look has to rise to the occasion,” Coca said. “I chose to dress her in something avant-garde, structured and unapologetic because it felt aligned with her narrative. It wasn’t just about dressing her for the event — it was about visually reinforcing the statement she had already made by being there.”
Across both moments, Coca returns to the same throughline: authorship is never neutral. “As designers, we are part of that machinery, whether we acknowledge it or not.”
Aguspina-Cuizon echoes this awareness through her takeaway of the film itself. “One scene that stayed with me was when Miranda begins to realize that things are shifting,” she said. “She’s surrounded by what feels like a past era of fashion, now being challenged by the rise of technology. It felt like a turning point — and a rare moment where she felt very human.”
And yet, within that machinery, Coca locates a final insistence as his takeaway from the film, having been invited to a private screening at the same mall. “At the same time,” he added, “that realization reinforces the importance of staying grounded in your own voice. In an industry shaped by so many external forces, authenticity becomes your anchor. Without it, it’s very easy to get lost in all those sequins and runway shows.”