The Devil Wears Prada 2 press tour: México Served. Tokyo Completed It.

The global press tour for The Devil Wears Prada 2 started in Mexico City. That alone says something, especially within the Mexican underworld. If you know, you know.

But what stood out wasn’t the film. It was the absence of something harder to define, maybe intention, or connection. It wasn’t obvious at first. It took Tokyo to make it visible. A lack of soul.

This isn’t about what Meryl Streep or Anne Hathaway wore. Not even about Martha Debayle. The issue sits elsewhere, within the structure of the press tour itself.

Fashion has been selective for decades. That’s not new. But this is cinema. And while film and fashion can intersect, they don’t operate under the same rule. One depends on exclusivity. The other depends on audience.

The concept, on paper, was fantastic. Mexico had a “fashion press tour.” It began with Frida at Casa Azul. It concluded at Museo Anahuacalli with a fashion show that, by all means, served. The inclusion of Mexican designers aligned perfectly with the film’s theme. The only issue was a lack of originality. Frida? For Mexico? Groundbreaking. Miranda would’ve been disappointed.

But between those two, something failed. The guest list leaned heavily on visibility rather than relevance. Influencers, some adjacent to fashion, others not, filled a space that could have been more deliberately constructed.

And here’s the issue. A film doesn’t succeed because the right people attend the press tour, or because the marketing campaign spends thousands of dollars. It succeeds because people watch it, regardless of what the experts suggest. Visibility does not equal conversion.

Then Tokyo happened. Different structure. Fans got the chance to engage, from afar. The system, while controlled, remained open enough to acknowledge the people who actually sustain the industry.

Mexico City, in contrast, became a closed circuit. What should have been a defining cultural moment, Mexico opening a global fashion narrative, ended up exposing a deeper misalignment: the growing distance between cultural industries and the public they rely on.

Because Mexico is not lacking anything.
Not audience. Not attention. Not relevance.

But someone decided to be creative with fashion and not with the fans, at least the Mexican fans.