The sequel to The Devil Wears Prada has claimed the biggest opening weekend in the Philippines this 2026, according to 20th Century Studios Philippines. The franchise’s iconic “Cerulean” monologue continues to resurface, where Miranda Priestly explains how a shade of blue “trickles down” as shorthand for a system where taste is constructed through editorial authority and luxury gatekeeping.
Fashion as Political Statement
“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’ Exhibition
With the film’s record-breaking momentum, 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 works of designers Coca, Eva Aguspina-Cuizon, Ayka Lim, Reynan Paul, Philip Rodriguez, Edwin Ao, Protacio, Phillip Tampus, Wendell Quisido and Marichu Tan.
Coca’s inspiration is a direct reference to the sequel’s movie poster. His piece, a deep red silhouette structured tightly through the body, extends into a sculptural collar. “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.”
Past and Present Dialogue
Designer Aguspina-Cuizon 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. “It felt fitting because the film reflects how fashion continues to evolve while still holding onto its core.” Designed over a decade ago for her graduation show, the piece draws inspiration from The Addams Family. “They’ve always been unapologetically themselves and I think that mirrors the fashion world.” The dress features a skirt cascading into layers of dramatic wine-red ruffles and airy tulle.
Maria Lava’s Fight for Visibility
Maria 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 dress her, the piece was already waiting in his shop — black and red and fiery. For Lava, it immediately resonated: “It felt like the devil, but it also felt like me because of ‘Lava.’ It represented both.” She added, “If you stay silent, nothing shifts — but when you speak up, people can listen.”
Creative Ownership is Power
Coca conceived the garment not as ornament but as argument. “When someone claims space like that, the look has to rise to the occasion. 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.”
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. “One scene that stayed with me was when Miranda begins to realize that things are shifting. 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.”
Coca locates a final insistence: “At the same time, 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.”
