Called ‘Ultra Field Test,’ the campaign features Australian football legend Archie Thompson and Sydney-based football club Sutherland Sharks FC, highlighting how AI-powered camera features can help spectators capture and review key moments during matches, bringing greater clarity to close calls while reducing pressure on referees and players.

At the heart of the campaign is a hero film released across Samsung’s digital channels, demonstrating how AI-powered mobile technology can extend beyond content creation into practical, real-world situations that matter to everyday consumers.

Recent research commissioned by Samsung found that while 66% of Australian sports fans have argued over refereeing decisions and 41% have witnessed disagreements at community events, 69% believe technology can improve officiating even though professional systems such as VAR remain out of reach for grassroots clubs.

To address this gap, Samsung’s campaign demonstrates how the Galaxy S26 Ultra’s advanced zoom and slow-motion playback can help spectators review important moments during matches, offering greater confidence in decisions and easing tensions on the sidelines.

Nathan Rigger, Head of Product for Mobile eXperience at Samsung Electronics Australia, said the campaign also showcases how Australians can use the device beyond everyday photography.

“For many parents, supporting their kids at Saturday sports is about being present in the moment and capturing key memories. Whether it’s a stunning goal or a match-winning save, the Galaxy S26 Ultra is designed to capture these moments perfectly. With features like Space Zoom, Audio Eraser, and Horizontal Lock, you can relive those memories over and over again,” said Rigger. 

Launched during one of football’s biggest seasons, the campaign places Samsung’s technology within a culturally relevant setting familiar to millions of Australians by positioning the Galaxy S26 Ultra as a practical tool that supports everyday sporting experiences. 

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Created by BBH Singapore, the campaign centres on the brand’s 20-year streak as the global TV market leader with a cinematic hero film inspired by a long-standing football tradition where national teams receive stars for every World Cup victory.

Drawing from this idea, Samsung transforms its 20 years at the top of the TV market into 20 stars, which are dramatically flown across Europe by helicopters before arriving at a packed football stadium for the reveal of a brand new 20-star campaign logo.

Benjamin Braun, Chief Marketing Officer at Samsung Electronics Europe, shared that the campaign celebrates the brand’s long-standing market leadership “in a visually memorable way that football fans would instantly relate to.” 

“We’re incredibly proud celebrating Samsung’s achievement with such a powerful brand platform. Especially doing so in a World Cup year when everyone is looking to upgrade their TV,” said Sascha Kuntze, Chief Creative Officer at BBH Singapore. 

Rolling out across 25 European markets, the massive campaign spans digital, social and in-store channels, bringing Samsung’s 20-year milestone to life through football-inspired interactive displays and fan-focused experiences. 

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Luxury, technology, and lifestyle marketers are now all competing for a seat at Miranda Priestly’s table. This time around, brands are not simply chasing screen time.

They are stepping directly into the Runway ecosystem—borrowing its editorial polish, fashion-week energy, and immaculate taste levels to transform ordinary products into objects worthy of a sample closet or front-row placement.

Across campaigns tied to The Devil Wears Prada 2, one thing is clear: in 2026, everyone wants to market like a luxury fashion editor.

Runway aesthetics become the new marketing language

Many of this year’s collaborations leaned heavily into the visual codes of fashion publishing—editorial lighting, couture styling, backstage chaos, and the cultivated cool long associated with the Runway universe.

Samsung Electronics transformed the film’s New York premiere into a full-blown runway spectacle through its “Runway Cam #withGalaxy” campaign, positioning the Galaxy S26 Ultra less like a smartphone and more like an editor-approved fashion-week essential.

Celebrity arrivals were staged like model walk-ins, complete with camera-pit flashes, couture energy, and social-ready captures reminiscent of Paris Fashion Week street-style galleries.

The campaign treated the red carpet like a September issue cover shoot—where every angle, pose, and candid moment could instantly become content.

Samsung extended this couture-tech narrative further through a separate campaign for its Bespoke AI Laundry Combo.

Using the image of a striking red garment moving through its AI-powered washer-dryer, the brand reframed fabric care as something closer to atelier preservation than household maintenance.

In the Runway world, clothes are never just clothes—and Samsung cleverly translated that mentality into appliance marketing. Fabric care became garment stewardship, precision became luxury, and laundry suddenly felt worthy of Miranda Priestly approval.

Diet Coke approached the franchise from another angle, turning fashion accessorising itself into the campaign hook.

Its metallic “Canny Pack”—a single-can carrier styled like a silver micro-bag—felt perfectly calibrated for the film’s universe of impossible accessories and hyper-styled office essentials.

The accompanying short film, “That’s All”, channelled the clipped restraint and intimidating composure synonymous with Miranda’s office, proving that even a Diet Coke break can feel editorial when framed correctly.

Together, these campaigns show how deeply fashion publishing aesthetics now influence global marketing far beyond apparel itself.

Products are no longer sold through utility alone—they are styled, curated, and art-directed like luxury editorials.

From consumers to Runway insiders

Other brands focused less on spectacle and more on immersive participation, inviting audiences to step directly into the Devil Wears Prada universe through daily rituals and personalised experiences.

Starbucks extended the franchise into coffee culture through a global “secret menu” inspired by the film’s central characters.

Rather than relying on generic movie branding, the campaign transformed drink customisation into character roleplay—allowing consumers to order like Miranda, Andy, Nigel, or Emily.

Miranda’s exacting extra-hot latte mirrored her famously uncompromising standards, while Andy’s softer oat-milk cappuccino reflected her transformation from uncertain assistant to polished Runway insider.

The activation cleverly tapped into one of the franchise’s most iconic recurring motifs: coffee runs as currency within the fashion hierarchy.

At Starbucks Reserve locations, limited-edition Runway magazine tie-ins and themed merchandise extended the fantasy further, turning café visits into miniature editorial experiences.

Much like the film itself, the campaigns understand that audiences are drawn not only to fashion, but to the aspiration of belonging—to being backstage, front row, or even just trusted enough to carry Miranda’s coffee order without getting it wrong.

Luxury, restraint, and the performance of power

While some campaigns leaned playful and participatory, others embraced the colder, sharper side of the Devil Wears Prada fantasy: authority, exclusivity, and controlled elegance.

Mercedes-Maybach’s “The Art of Arrival” campaign positioned the Mercedes-Maybach S-Class as the official vehicle of editorial power.

Miranda Priestly’s entrances became carefully choreographed fashion moments, where silence, timing, and restraint communicated status more effectively than spectacle ever could.

The campaign mirrored the language of haute couture itself. Precision stitching, tailored interiors, and restrained detailing were framed like custom atelier craftsmanship—luxury communicated through quiet confidence rather than excess.

Even the act of stepping out of the vehicle felt staged like a runway reveal.

Similarly, Hisense embedded its RGB MiniLED televisions directly into the glass-walled offices of Runway magazine, transforming screens into part of the film’s aesthetic architecture.

Rather than dominating through overt advertising, the brand positioned its technology as something naturally belonging inside elite creative spaces.

At the world premiere, Hisense extended this approach into the red-carpet environment itself, using its displays as part of the event staging—blurring the line between entertainment technology and fashion set design.

These campaigns reflect how premium brands increasingly sell atmosphere over functionality.

The new era of cinematic brand worlds

Taken together, the The Devil Wears Prada 2 partnerships reveal a broader shift in how brands approach entertainment marketing.

Brands are using the Runway universe as a cultural operating system—one where appliances become couture caretakers, coffee orders become character storytelling, cars become symbols of editorial authority, and smartphones become fashion-week production tools.

The result feels less like advertising and more like participation in a shared fantasy.

And perhaps that is why these campaigns resonate so strongly.

The enduring appeal of The Devil Wears Prada has never been about fashion alone. It is about aspiration, transformation, taste, and the intoxicating pressure of trying to belong in rooms where standards are impossibly high.

In a media landscape overflowing with disposable content, these campaigns understand something crucial: audiences do not just want products.

They want the fantasy of being effortlessly chic while carrying three coffees, surviving impossible deadlines, and hearing Miranda Priestly say, “That’s all.”

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At the centre of the push is a series of short-form sketches starring Henry, now a pundit as much as a former striker. 

The creative leans into self-reference. Henry watches himself on screen as a football analyst, an action hero, and even a K-drama lead, each scenario designed to showcase the television’s picture and sound capabilities.

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The move comes as brands position themselves for a surge in viewing tied to the 2026 FIFA World Cup, expected to be one of the most widely watched sporting events globally. 

“Our TVs have been crowned the global number one TV for 20 years in a row. That consistency speaks for itself, but we wanted to dramatise it in a visually memorable way that football fans would instantly relate to,” said Benjamin Braun, Chief Marketing Officer at Samsung Electronics Europe.

For the agency behind the work, the logic is equally direct. 

“As a global icon who demands nothing less than technical brilliance, Thierry knows that for the moments that define history, you need the gold standard of television. If it’s worth watching, it’s worth watching on a Samsung,” said Sascha Kuntze, Chief Creative Officer at BBH Singapore.

The campaign will roll out across 25 European markets, spanning digital, social, and in-store channels. 

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The company has launched a global marketing push tied to The Devil Wears Prada 2, using the film’s visual codes to promote its Bespoke AI Laundry Combo—a washer-dryer pitched as capable of handling delicate, high-value garments with minimal input.

At the centre is a campaign film built around a single motif: a vivid red garment, long associated with fashion’s power symbols, fed into Samsung’s AI-enabled machine. 

The result is a controlled demonstration of precision—fabric care rendered as something closer to tailoring than routine washing.

Samsung has taken over digital out-of-home placements at Piccadilly Circus, with further activations planned across key urban centres, including Seoul’s Myeongdong and Gangnam district—locations synonymous with high footfall and, increasingly, high consumer expectations.

The move comes as appliance makers compete less on hardware alone and more on narrative. Across Asia’s urban markets, where premiumisation is rising but attention spans are short, brands are leaning into cultural tie-ins to hold relevance.

“This collaboration with ‘The Devil Wears Prada 2’ is a celebration of the intersection between fashion and technology,” said Sang Jik Lee, Executive Vice President and Head of the Sales & Marketing Team for the Digital Appliances Business at Samsung Electronics. “Just as the film sets new standards for style, Samsung’s Bespoke AI Laundry Combo sets a new benchmark for intelligent fabric care.”

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At the world premiere in New York, Samsung unveiled “Runway Cam #withGalaxy”, transforming the red carpet into a couture runway. 

Talent arrivals were framed as model walk-ins, with the Galaxy S26 Ultra capturing editorial-grade imagery under flash-heavy lighting reminiscent of a fashion week show set.

The activation borrowed directly from couture show codes—front-row energy, camera pit intensity, and styled entrances—recasting the premiere as a live fashion presentation. 

The device’s camera system was positioned as a backstage-to-runway tool for instant, social-ready editorial captures.

The campaign extends into narrative content starring Helen J. Shen as Jin, integrating Galaxy S26 Ultra features such as Circle to Search with Google into a stylised couture universe inspired by the film.

Appearances by Simone Ashley, Lucy Liu, Heidi Klum, and Winnie Harlow reinforced the runway framing, alongside creator Haley Kalil, who documented styling moments and device-led captures across social channels.

The collaboration reflects a broader shift in tech marketing, where product launches are increasingly choreographed through couture language—treating premieres as fashion presentations and devices as tools of instant editorial production.

Timed ahead of the film’s theatrical release, the campaign situates Samsung’s flagship within the intersection of couture spectacle, cinema culture, and social-first visual storytelling.

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The collaboration is intended to explore how mobile devices can be used to enhance audience engagement during performances, with a focus on capturing and sharing moments from concerts. Samsung also said the initiative reflects shared themes between the company and BTS, including self-expression and connection through music.

“Samsung believes that technology enriches everyday experiences,” said Stephanie Choi, EVP and Head of the Mobile Marketing Center, Mobile eXperience (MX) Business at Samsung Electronics. 

“Through this collaboration, Galaxy will serve as a bridge connecting artists and the audience, enabling people to experience concert moments more meaningfully and preserve and share those memories for longer,” Stephanie added.

As part of the partnership, Samsung is positioning its Galaxy S26 Ultra as a tool for capturing live performances, with an emphasis on its camera capabilities. The company said the device is designed to allow audiences to record and revisit concert experiences, as well as share them more widely.

“Fans are at the heart of everything we do, shaping our music and journey together with us,” said Lee Jae-sang, CEO of HYBE. “Through this partnership with Samsung Electronics, we hope fans can experience concerts more vividly and create lasting memories.”

The ‘BTS WORLD TOUR ‘ARIRANG’’ is scheduled to begin in Goyang before expanding to other cities globally through 2027.

Alongside the tour, a related event, ‘BTS THE CITY ARIRANG SEOUL’, is being held in Seoul from 20 March to 19 April. The programme includes a series of branded activities across the city, where visitors can engage with Galaxy devices through interactive experiences.

These include activities at Samsung’s Gangnam store, where visitors can participate in a stamp rally and create customised stickers using Galaxy AI-powered tools. Participants who complete the activities may receive limited-edition merchandise linked to the event.

Moreover, Samsung said similar ‘BTS THE CITY’ activations are expected to be rolled out in other tour locations, as part of efforts to extend the concert experience beyond live performances and into surrounding city environments.

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Central to the campaign is a microdrama series titled “The Elephant in the Room,” shot entirely on Galaxy devices. The series follows Jasmine, an office worker tasked by her boss to “address the elephant in the room” during a high-stakes client meeting, a vague instruction she works to interpret across three episodes. 

The film series—rolled out on social media, VOD platforms, out-of-home advertising, and Samsung TV Plus—highlights key features of the Galaxy S26 Ultra, including its 100x camera zoom, Privacy Display, and Nightography capabilities.

“The Samsung Galaxy S26 series marks a new benchmark in how Australians use and interact with their smartphones in their everyday lives,” said Nathan Rigger, head of product of mobile eXperience at Samsung Electronics Australia. “With our first Privacy Display, Australians have greater control than ever of what they do and don’t share, and Galaxy AI helps make complex tasks simple for everyone – not just tech enthusiasts.”

Beyond digital, Samsung has also executed a full-scale takeover of Central Walk at Sydney’s Central Station. The campaign further extends into content partnerships with Australian podcasters, who are incorporating Galaxy S26 features and audio integration into their programmes.

From 14 to 15 March, three Samsung Experience stores in Melbourne, Brisbane, and Sydney hosted launch celebrations featuring immersive in-store experiences, including live product demonstrations and AI-powered photo opportunities. Attendees also had the chance to take part in giveaways for the Galaxy S26 Ultra, vouchers, and other prizes.

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Called “Hangeul Truck”, the open-air project travelled to major university campuses on the East and West Coasts of the United States, showcasing the beauty of Hangeul, Korean culture, Samsung’s AI-powered innovations, and the latest Galaxy foldables through hands-on, interactive experiences.

The initiative celebrates Hangeul Day, honouring the invention and formal announcement of the Korean alphabet.

Planned, created, and operated by Cheil, the Hangeul Truck was wrapped in 5,400 of artist Kang’s signature Hangeul Cubes and equipped with an LED screen displaying student-created artworks in real time. Students could record messages to their future selves using the Galaxy Z Fold7, with Samsung’s AI technology instantly translating their messages into Korean. The messages were then transformed into Hangeul artwork and displayed on the truck’s LED screen.

“The Hangeul Truck is where the past meets the present — where Hangeul, created by King Sejong centuries ago, now breathes with the dreams of today’s young generation,” said artist Ik-Joong Kang. “What made this project meaningful was its openness — art not confined to an exhibition hall but moving freely through various cities and campuses.”

Additional activities promoted Korean language and culture, including Hangeul colouring with Galaxy Tabs, erasable Hangeul tattoos, and photo opportunities with frames designed by Kang.

The Hangeul Truck has already visited six East Coast universities and Times Square in New York City and will continue its tour of campuses, museums, and galleries on the West Coast throughout November. 

On average, 1,200 people visited daily, with over 8,000 participants across the East Coast stops. According to Samsung, 62.9% of attendees reported a more favourable impression of the Galaxy brand after experiencing the project.

“The Hangeul Truck is a meaningful project showcasing the unique beauty and value of Hangeul, an open writing system that can be easily combined and expanded, and Samsung Galaxy’s open technology connecting the world,” said Stephanie Choi, EVP and head of marketing of the Mobile eXperience Business at Samsung Electronics. 

“We will continue to expand public cultural initiatives bridging communities, languages, and generations,” she added. 

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With the appointment, Samsung Electronics is consolidating its social, media, and CRM operations in Singapore under Publicis Groupe Singapore. The consolidation aims to strengthen the technology company’s consumer connection and brand loyalty through the integrated marketing ecosystem.

Publicis Media and Digitas handle Samsung Electronics’ media and CRM business in Singapore, respectively.

As part of its mandate, Publicis Chemistry Singapore will spearhead Samsung’s content strategy, creative development, community management, and brand engagement across social media platforms. 

The appointment comes as Samsung Electronics is focusing on fostering emotional resonance with its consumers for long-term value and loyalty.

Lynn Chong, head of marketing at Samsung Electronics Singapore, commented, “Social plays a vital role in how consumers experience our brand. With Publicis Chemistry, Digitas, and Publicis Media working together for the Singapore market, we look forward to a partnership that leverages greater integration to transform consumer touchpoints into engines of loyalty and growth.”

“We’re incredibly proud to deepen our partnership with Samsung. This assignment is a powerful validation of our integrated approach, and we’re energised to bringing bold ideas and connected creativity to life,” Lena Liew, managing partner at Publicis Chemistry Singapore, said.

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