The release of “Runway”, the first single from The Devil Wears Prada 2 soundtrack, sees two unique styles of contemporary music converge in the persons of Lady Gaga and Doechii. Both artists are known for their avant-garde styles and their explorations of the world of performance and art, and they enter the stage together in a release that is highly theatrical and visual. The accompanying music video, helmed by Parris Goebel, is steeped in a high-fashion narrative, and fits with the style and ethos of The Devil Wears Prada 2.
“Runway” in its entirety is a blend of music, film and fashion. The opening scene, featuring the two performers sewn into a large red blazer, is an unexpected yet symbolic gesture that hints at unity, difference and creative conflict. The pair, dressed in matching black ties and white button-down shirts, with straightly parted, slicked-back hair, sings the introduction in unison: “No matter what, no matter what, you got to strut.” This statement becomes both a mantra and a theme, introducing the theme of self-esteem, style, and visibility.
As the video progresses, it shifts to a series of fantasy avant-garde fashion scenes that seem reminiscent of editorial fashion shoots and avant-garde art exhibitions. A sense of change is evident, both in clothing and demeanor. Gaga, whose own career is synonymous with reinvention, leads a key section, singing lines that echo the self-confident nature of the song: “Walk, I’m feeling fab, I feel free, I feel exceptionally me, hate all you want, but I’m dangerous, you gon’ burn your tongue on this tea, might be late, might be on time, just wait, I’m coming, kiki, this paparazzi routine, bitch, I came to be seen.” The lyrics have a playful playfulness that alludes to the world of celebrity and judgement, while also asserting power.
The beauty of this collaboration is the way the creative practices of Gaga and Doechii blend seamlessly. Gaga’s theatrics and fashion-based storytelling are complemented by Doechii’s fresh, modern sound and style. This is beautifully embodied in how she delivers the pre-chorus: “Yes, serve a little sass, yes, with a little side of ass, yes, got the front row screaming, okay, okay, yes, do a little twirl, yes, let ’em know I’m that girl, yes, Monday through Sunday, I can turn a dance floor into a runway.” The verse not only reinforces the song’s core message but also echoes the shift in contemporary pop and hip-hop lyrics to embrace self-esteem and individuality as a means of expression.
Visually, the video’s transition to 18th century-inspired ballgowns represents a move from modern simplicity to historical opulence. The opulent clothing, combined with excessive makeup and intentionally messy hair, introduces a blend of sophistication and defiance. This historical mash-up is reflective of the stylistic preferences often seen in The Devil Wears Prada franchise, where fashion is more than a visual element, it is a storytelling tool. The fashion choices in “Runway” appear to be an effort to cast fashion as a protagonist, a mood enhancer, or a narrative device.
In the background, the songwriting credits indicate a collaboration beyond the two artists. In addition to Gaga and Doechii, writers include Bruno Mars, Andrew Watt, Henry Walter, Dernst “D’Mile” Emile II, Jayda Love, and Jaylah Hickmon (Doechii’s true name). This collection of songwriters brings a mixture of genres such as pop, R&B and hip-hop, which create a rich and multidimensional song. The song has a slick, up-tempo quality that enhances the visual experience of the video without dominating it.
As you watch “Runway,” it feels like the track isn’t just being released as a single but to serve as an introduction to the upcoming film. Music for fashion-centred stories can sometimes struggle to find the right balance between commercial and artistic value. In this instance, this song embraces both. It speaks to the aspirational nature of the fashion industry, as well as its performative qualities, which includes the need to be seen, judged and remembered.
On the other hand, the stylization of the video brings to mind issues of uniqueness and uniformity in fashion culture. The initial shot of the artists wearing each other’s clothes could be seen as an allusion to the way trends homogenise identities while purporting to express individuality. But as the video unfolds, both Doechii and Gaga express individuality, perhaps to indicate that style is about embracing this paradox.
There is also a sense of the changing nature of music videos in a digital world. In an era of fleeting attention and endless content, a memorable visual experience is more critical than ever. In this context, “Runway” seems to relish the challenge by presenting a sequence of memorable, almost instantaneous moments. The scenes are carefully crafted for visual effect, with vibrant colours, unexpected poses and emotive dance.
It’s early days yet to tell how “Runway” will fit within the film’s soundtrack, but the first taste is one of strategic planning. The partnership between Gaga and Doechii seems deliberate rather than avant-garde, and presents a pairing of artists who appreciate the influence of the visual as much as the aural. For fans of the legacy of The Devil Wears Prada, this track presents a contemporary take on its themes, suited for a digital age that consumes fashion through social media as readily as real life.
