Simone Ashley, the British actress who rose to international prominence in the Regency-era drama Bridgerton, has transitioned into the high-stakes world of fashion-centric cinema with her role in the highly anticipated sequel, The Devil Wears Prada 2. Produced by 20th Century Studios and arriving nearly two decades after the original 2006 cult classic, the film’s promotional cycle has become a focal point for the global fashion industry. Collaborating with renowned stylist Rebecca Corbin-Murray, Ashley has utilized the press tour to bridge the gap between contemporary ready-to-wear and significant archival pieces, reinforcing the film’s thematic connection to the evolution of the fashion industry. The tour, which has spanned major media hubs from New York to Miami, showcases a sophisticated narrative through four distinct sartorial choices that reflect both the legacy of the designers involved and the current trends dominating the luxury market in 2026.
The Return of the Ghesquière Era: Archival Balenciaga at the Press Junket
The press tour commenced with a significant nod to fashion history during the initial media junket. Ashley appeared in a mini scuba dress from the Balenciaga Spring 2003 collection, designed by Nicolas Ghesquière. This specific era of Balenciaga is widely regarded by fashion historians as a transformative period that redefined the silhouette of the early 2000s. The garment features a saturated "underwater-meets-jungle" print, a hallmark of Ghesquière’s experimentation with neoprene-like fabrics and hyper-graphic digital prints.
The choice to wear a piece from 2003 is strategically aligned with the "vintage revival" trend currently sweeping the luxury sector. By selecting a 23-year-old garment, Ashley and Corbin-Murray tapped into the archival movement that has seen a 45% increase in searches for "vintage designer" on secondary market platforms over the last fiscal year. To complete the look, Ashley carried the original Balenciaga Le City bag. Originally launched in 2001 and famously championed by icons like Kate Moss, the bag’s inclusion serves as a reminder of the "Indie Sleaze" aesthetic’s enduring influence. This look not only established Ashley’s fashion credentials but also signaled that The Devil Wears Prada 2 would honor the industry’s past while moving toward the future.
Modern Power Dressing: Gauchère and the Evolution of the Cami
For her appearance on Good Morning America, the styling pivoted from the avant-garde archives to the precision of modern tailoring. Ashley wore a look from the Gauchère Fall 2026 collection, designed by Marie-Christine Statz. The ensemble consisted of a color-block camisole top paired with structured leather trousers. This transition from the "scuba" aesthetic of Balenciaga to the "tough-luxe" feel of Gauchère demonstrates a versatile range in Ashley’s public persona.
Industry analysts have noted that "method dressing"—where an actor’s wardrobe reflects the themes or aesthetic of their film—has become a primary marketing tool for major studios. In the context of The Devil Wears Prada 2, which explores the modern complexities of fashion publishing and corporate identity, the Gauchère look represents the functional yet elevated attire of a contemporary industry leader. The outfit was accessorized with an Antonio Marras "Caragol" bag and Gianvito Rossi pumps, the latter providing a consistent neutral base that allowed the textures of the leather and silk to remain the focal point. This specific look has been compared to previous press tour efforts by colleagues in the industry, highlighting a successful execution of balancing color-blocking with heavy textiles without overwhelming the wearer’s frame.
Textural Play and Daytime Elegance: Nomia on Live with Kelly and Mark
Continuing the New York leg of the tour, Ashley appeared on Live with Kelly & Mark in a look from Nomia’s Spring 2026 collection. Nomia, a New York-based label known for its utilitarian yet feminine approach, provided a patchwork dress featuring Liberty-print details. This choice highlights a shift toward supporting independent designers alongside established heritage houses, a move often seen as a "tastemaker" strategy in celebrity styling.
The standout element of this ensemble, however, was the footwear. Ashley wore lilac Jimmy Choo "72138" sandals adorned with ostrich feather accents. The inclusion of these sandals serves a dual purpose: it injects a sense of "dopamine dressing"—a trend characterized by bright colors and playful textures intended to boost the wearer’s mood—and it reinforces the commercial partnership between the film’s stars and high-end luxury brands. In the 24 hours following the appearance, retail tracking data indicated a spike in interest for "feathered sandals" and "lilac footwear," illustrating the direct economic impact of Ashley’s wardrobe choices on consumer behavior.
The Miami Photocall: Chloé and the Stella McCartney Legacy
As the press tour moved to Miami for a coastal photocall, the wardrobe shifted toward a lighter, more atmospheric aesthetic. Ashley revisited the archives, selecting a Chloé Spring 2001 one-shoulder dress. This piece dates back to Stella McCartney’s influential tenure at the French fashion house, featuring the iconic horse print that became a signature of her time there. The dress represents a pivotal moment in fashion when Chloé moved toward a more youthful, "cool-girl" aesthetic that prioritized ease and movement over rigid structure.
The setting of the Miami photocall—outdoor, sun-drenched, and less formal than a television studio—provided the ideal backdrop for the airy fabric and whimsical print of the Chloé archive. By pairing the dress with white Jimmy Choo "Leo" sandals, the styling maintained a summery, accessible finish. This look specifically resonates with the "Boho-Chic" resurgence seen in recent seasons, proving that Ashley’s team is adept at selecting archival pieces that feel current rather than dated.
Chronology of the Promotional Tour
The promotional schedule for The Devil Wears Prada 2 was meticulously planned to maximize visibility across different demographics:
- Early May 2026: Initial press junkets in New York City focusing on high-fashion trade publications (Vogue, WWD).
- Mid-May 2026: Morning show circuit (Good Morning America, Live with Kelly & Mark) targeting general audiences and daytime viewers.
- Late May 2026: Regional premieres and photocalls, including the Miami event, aimed at generating social media engagement through lifestyle and travel-themed content.
- June 2026: Global theatrical release and follow-up appearances at international fashion weeks.
Industry Impact and the Role of the Stylist
The success of these four looks is largely attributed to the vision of Rebecca Corbin-Murray. Corbin-Murray has a history of creating "fashion moments" for her clients, often utilizing rare archival pulls to generate buzz that transcends the film itself. In an era where red carpet appearances are dissected in real-time on platforms like TikTok and Instagram, the ability to secure a Balenciaga 2003 or a Chloé 2001 provides a level of exclusivity that contemporary ready-to-wear often lacks.
Furthermore, the integration of "shoppable" links within digital coverage of these events—ranging from Gianvito Rossi pumps to the latest Jimmy Choo collections—demonstrates the evolving relationship between film promotion and e-commerce. While the archival pieces are not available for direct purchase, they drive traffic toward the brands’ current offerings, creating a halo effect that benefits the entire fashion ecosystem.
Broader Implications for The Devil Wears Prada 2
The decision to place Simone Ashley at the forefront of the film’s fashion narrative suggests that her character may play a central role in the sequel’s updated "Runway" magazine or its digital equivalent. The original film was criticized by some for its narrow view of the industry; the sequel appears to be correcting this by embracing a more diverse and historically literate approach to style.
The use of archival fashion also aligns with the industry’s growing focus on sustainability. By showcasing that garments from 2001 and 2003 remain relevant and luxurious in 2026, Ashley is participating in a broader cultural conversation about the longevity of clothing and the value of investment pieces. This "circular fashion" narrative is likely to resonate with the younger audience that has discovered the original film through streaming services.
In conclusion, Simone Ashley’s press tour for The Devil Wears Prada 2 is more than a series of public appearances; it is a masterclass in brand building. By balancing the avant-garde history of Balenciaga, the modern minimalism of Gauchère, the playful textures of Nomia, and the heritage charm of Chloé, Ashley has cemented her status as a premiere fashion icon of the mid-2020s. As the film enters theatres, the industry will be watching closely to see if the on-screen wardrobe can match the high standard set by this global promotional tour.
