30 April 2026  The long-awaited sequel The Devil Wears Prada 2 officially opened in Austrian cinemas yesterday, following a high-profile premiere in Vienna. Hosted at Cineplexx Millennium City, the event brought together figures from fashion, media and entertainment, underlining the film's ongoing cultural relevance nearly two decades after the original. Premiere connects film and fashionAhead of the official cinema release, Austrian shoe retailer Humanic collaborated with Cineplexx to stage a curated fashion presentation inspired by the film. The event positioned the premiere not only as a cinematic moment, but also as a platform for contemporary fashion storytelling. Guests included Nadine Mirada, Ebru Erkut, Ferdinand Seebacher, Gamze Esen, Irina Hp, Kimberly Budinsky, Martina Reuter, Marika Lichter, Michi Buchinger and Verena Kollruss. The audience reflected a cross-section of Austria's creative industries, from influencers to established media personalities.A collection shaped by cinematic styleHumanic used the occasion to introduce its "House of Brands" collection, translating the film's visual language into wearable business fashion. The collection focuses on three key styles that define the current office aesthetic:• classic pumps as a symbol of timeless elegance • feminine slingpumps for a lighter, more fluid silhouette • modern sling ballerinas combining comfort and style These designs were complemented by structured city bags and seasonal accents such as deep red tones and patent leather finishes. According to the brand, the aim was to capture the film's characteristic mix of precision, confidence and stylised femininity. A campaign featuring model Nadine Mirada presents the selected looks, visually connecting the cinematic narrative with everyday fashion contexts. Film reflects industry changeWhile the premiere emphasised glamour, early Austrian reviews focus on the film's thematic depth. Media outlets including ORF, Der Standard and fm4 highlight how the sequel moves beyond nostalgia to address structural changes in both the fashion and media industries.The original The Devil Wears Prada was released in 2006. Since then, the media landscape has undergone fundamental transformation. Platforms such as Twitter (founded in 2006), Instagram (2010) and TikTok (2016) have reshaped how fashion is communicated and consumed. Traditional print journalism, once central to the film's narrative, now operates alongside — and often in competition with — digital and social media formats. From print to platform cultureThis shift is also reflected in the film's reception. Critics point to the decline of print authority and the rise of new forms of communication as key themes. The fictional magazine "Runway," once a symbol of editorial power, is now portrayed within a more complex and fragmented media ecosystem. Traditional fashion journalism operates in a competitive environment that includes not only digital publishers, but also independent journalists, content creators and influencers.At the same time, brands themselves have increasingly developed their own media channels and editorial structures. Fashion houses no longer rely solely on external coverage, but act as publishers in their own right. A recent example is Chanel: its Cruise 2026/27 show, presented by Matthieu Blazy, reached more than 1.5 million views on YouTube within one day after being streamed live on 28 April 2026. The soundtrack of The Devil Wears Prada 2 adds to this contemporary media landscape. The track "Runway" by Lady Gaga and Doechii surpassed five million views on YouTube within two days — a level of visibility that traditional print journalism cannot match. As Austrian coverage over the past two days shows, the sequel is widely discussed not only as entertainment, but as a commentary on the evolution of fashion journalism. The film revisits a familiar world, while acknowledging that the structures behind it have fundamentally changed. Image: Cinema auditorium during the Vienna premiere of 'The Devil Wears Prada 2', featuring a stage presentation as part of the Humanic collaboration with Cineplexx © Tim Walker |