Let the “Devil Wears Prada 2” red carpet fashion frenzy begin. Byredo and artist Lauren Halsey create a must-have spring fragrance that could only be made in Los Angeles. Todd Gray gets his moment with Portals at Perrotin gallery and a new commission for LACMA’s David Geffen Galleries. And LVMH introduces a trophy tequila.
The Devil Is Back
Gird your loins, the “Devil Wears Prada 2” red carpet fashion frenzy has officially begun with this week’s kickoff of the film’s press tour in Mexico City.
For a daytime press conference, Meryl Streep and Anne Hathaway posed outside Casa Azul, the strikingly blue (though not cerulean) home of Frida Kahlo.
Anne Hathaway wore a fab black Schiaparelli fringed dress with a surrealist-looking golden eye embellishment that seemed to pay homage to Kahlo.
Streep wore a devilish red suit and pussy-bow blouse by Dolce & Gabbana, one of the many fashion brands we’ve already seen integrated into the movie. (You’ll remember scenes were filmed during the Spring-Summer 2026 show during Milan Fashion Week last September, which saw Streep, in character as Miranda Priestly, mingling with her alter ego Anna Wintour.)
For a fan screening at Museo Anahuacalli, 20 minutes of the film were teased, and there was a runway show featuring looks by prominent Mexican fashion designers, including Alfredo Martinez, Benito Santos and Carla Fernández. The event was a kickoff of sorts for Mercedes-Benz Fashion Week Mexico, which is scheduled for April 16 to 20 in Guadalajara.
Hathaway walked the runway in a Stella McCartney sequin flared minidress and over-the-knee boots, while Streep wore a navy blue belted Schiaparelli coat dress.
Some commented on social media that it would have been a nice gesture for Streep or Hathaway, or both, to have worn a look by a Mexican designer for the runway event. Agreed. Even a Mexican American designer. Willy Chavarria could have whipped up an amazing red pantsuit.
The duo has reunited for “The Devil Wears Prada 2” alongside Emily Blunt and Stanley Tucci. The film will follow Priestly “as she navigates her career amid the decline of traditional magazine publishing and as she faces off against Blunt’s character, now a high-powered executive for a luxury group with advertising dollars that Priestly desperately needs.” Hathaway, meanwhile, returns as the new features editor at Runway.
The film opens May 1, but the press tour will hit Tokyo, Seoul, Shanghai, New York and London before that, so they’ll be plenty more opportunity for looks — and opinions!
Byredo and Lauren Halsey Bottle an L.A. Vibe
It’s the lead up to Mother’s Day, aka high season for fragrance launches. In recent days, Dior’s J’adore Intense was feted with Club J’adore at a Beverly Hills mansion, and LoveShackFancy celebrated its latest scent, Sweetheart, with a very pink, very flowery party at Kathy Hilton’s house in Bel Air.
But Byredo, the Stockholm-born fragrance house that has made a practice of distilling memory into scent, touched down last week with a more unconventional launch: a collaboration with Lauren Halsey, staged inside her newly opened Sister Dreamer sculpture park.
Halsey — whose installations fuse Egyptian iconography with street culture and community archives — has spent nearly two decades imagining Sister Dreamer, a public art park at Western Avenue and 76th Street. The courtyard of carved concrete panels, sphinxes and columns is both tribute and offering to the South Central neighborhood she calls home, designed as a space for belonging, programming and everyday life.
Sister Dreamer the fragrance is a limited-edition eau de parfum conceived as “a vessel for memory, community and imagined futures.” Opening with pink pepper and juniper, it softens into freesia and Turkish rose before settling into a warm base of sandalwood, amber and what the brand calls “healingwood.” It’s fresh and floral but not cloying, capturing a distinct L.A. moment.
“The park itself sits on a city block saturated with incense-scented air from my park’s neighbors: a mom and pop incense distributor, hyperlocal makers selling Coco Egypt and Oprah’s money sticks from their backpacks, and even a corporate gas station with a modest selection of Black Love Extra Strong and mango-peach oils,” Halsey said of the inspirations. The fragrance pulls from all of them, as well as from the aromatic native plants, wildflowers, fruit trees, herbs and grasses growing in the park.
The crowd was a cool mix of well-dressed fashion, art and entertainment people, where I spotted LaKeith Stanfield, Jeremy Pope, Tia Mowry, Zerina Akers, Delfin Finley and Kohshin Finley, Aleali May, Reese Cooper and more.
We moved through the park past carved sphinxes of local heroes and under columns etched with neighborhood icons and scenes, the air thick with perfume that was spritzed at the door and on giveaway T-shirts.
Caribbean-inflected small bites from local chefs Marcus Yaw and Abdoulaye Balde of their Two Hommès restaurant in nearby Inglewood were a hot commodity because they were so damn good, and people kept going back for seconds and thirds. Overall, the evening had a vibe that felt less like a product launch than a continuation of Halsey’s long-standing vision of joy as a form of resistance.
For Byredo, founded by Ben Gorham and known for its minimalist bottles and maximalist storytelling, the collaboration marks another step in its ongoing dialogue between art and olfaction — where the product becomes secondary to the world it conjures.
Sister Dreamer eau de parfum is available for $350 for 100 ml through Byredo boutiques and select retailers.
Sister Dreamer sculpture park is open through September at 1810 W. 76th St., Los Angeles.
Todd Gray’s “Portals” Defy Easy Consumption
Ahead of the unveiling of Todd Gray’s new commission “Octavia’s Gaze,” featuring his photograph of the prescient author Octavia Butler near the entrance to the Los Angeles County Museum of Art’s David Geffen Galleries, the L.A. artist has opened a stunning new exhibition of his photo collages at Perrotin Los Angeles.
Gray’s “Portals” challenge perception, folding time, place and memory into unsettled frames. Gray has long been familiar with the complexities of image-making. He started his career in music photography at age 14, capturing rock ‘n’ roll icons of the 1960s and ’70s for more than 100 album covers and eventually becoming Michael Jackson’s personal photographer. Here, he constructs photographic assemblages of scenes weaving together European and West African history, commenting on power and erasure, spectacle and witness.
Gray’s vision for the pieces was “to create a dialogue about my history as a diasporic individual and the colonizers, the imperial structures, the royals, the market that profited from my forebearers,” he said during a talk with LACMA director Michael Govan at Perrotin. “But I’m going to use beauty as a way to sugar coat it. So it’s a little sugar-coated pill.” The result? “Hopefully a reckoning and an awakening.”
Indeed.
In the powerful “Paradox of Liberty (Monticello, Elmina, Akwidaa),” a cluster of palm trees in Ghana forms the background for a bust of Thomas Jefferson and the Door of No Return from a slave fortress. “I thought this is a great story of this economic power and how it started. On top of paradise,” Gray said.
In “Portals (Antwerp, Paris 2026),” he upends the bias of Western art. “Whenever I visit a museum and see a Black person in a painting, I photograph it,” he said of coming across the source material at the Royal Museum of Fine Arts. “Here was a servant, discarded. And in most historical paintings that’s the space we occupy. But I had to disrupt the power so I used the stained glass window to cover the original subject and make the Black woman the subject. It was a way to upset the apple cart but make it a harmonious color study.”
The effect is beautiful but uncomfortable, resisting easy consumption. Portals is an invitation to entry and exploration.
“The first iteration is the gift of pleasure,” said Gray of how his work reveals itself in layers. “But that stimulates you hopefully to go further in.”
Todd Gray’s “Portals”runs through May 30 at Perrotin, 5036 W. Pico Blvd., Los Angeles.
LVMH Enters the Trophy Tequila Game with $2900 Pour
Louis Vuitton Moët Hennessy already designs the FIFA World Cup, Formula 1 World Championship and America’s Cup trophies, to name a few. And now, it’s entered the trophy-tequila game with Volcán de mi Tierra.
The luxury group launched Volcán in 2017 through its spirits division, in partnership with the Gallardo family in Jalisco, Mexico. And now, the brand has launched its most exclusive boisson yet.
Colección I Hacienda La Gavilana is tequila as object, encased in an Italian marble vessel that could double as a barbell, hand-carved by Mexican master stonemasons ARCA.
The Gallardo family’s heritage in Jalisco stretches back to 1776, almost as long as the luxury group’s flagship champagne brand, which was founded in 1743 by Claude Moët. LVMH CEO Bernard Arnault himself initiated the partnership for the tequila in 2015, which has resulted in a Blanco and a Reposado.
“Colección I” contains Volcán’s first Añejo, which is made from Lowlands Blue Weber tequila, aged in European oak and finished for more than a year in a sherry cask. It is smooth and elegant, with a wave of flavor that lingers in the mouth.
Santiago Cortina Gallardo, Volcán de mi Tierra’s CEO and co-founder, came to L.A. to introduce the tequila to the American market, pouring the liquid gold for media and tastemakers at a rooftop tasting at the L’Ermitage.
“There are more than 3,000 tequila brands, and last year more than one launched per day. But there are only seven brands that do their own tequila and nothing but their own tequila, and Volcán is one,” he explained, adding that the name honors the Tequila volcano near his family’s La Gavilana hacienda.
As for how he likes to drink his tequila, Gallardo recommends starting the evening with a Blanco with a beer on the side, then moving to a Reposado with a big ice rock (no lime, because that’s only for masking the taste of bad tequila), or Reposado mixed into an espresso martini. And then, if you’re lucky, linger over the Añejo for the big finish.
The brand is planning a new marble design each year, with editions limited to 1,774. And while the $2,900 price may seem steep, it’s not when you compare it to some of the other trophy tequilas that have made headlines, such as Tequila Ley Diamante, valued at $3.5 million, with a bottle crafted from platinum and 4,100 white diamonds.
Maybe LVMH’s Tiffany & Co. can top that.
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