There is a moment in most press tours where the outfits start to blur together. That did not happen with The Drama.
Over the course of several weeks, Zendaya and her longtime collaborator Law Roach traveled through Los Angeles, Paris, Rome and New York for the promotional run of the A24 film, which follows an engaged couple whose wedding week unravels after an unexpected turn. Rather than dress around the film’s visual palette or its genre, Roach and Zendaya built the entire wardrobe around the traditional wedding saying: something old, something new, something borrowed, something blue. Zendaya confirmed on Good Morning America that the looks were also intended to trace the film’s own shift in tone from light to dark.
The result was less a press tour and more a serialized fashion story, one that rewarded anyone paying close enough attention.
See All of Zendaya's Showstopping Looks for 'The Drama' Press Tour https://t.co/Agw0o5AtHi
— People (@people) April 3, 2026
Something old, something borrowed
The tour opened with Zendaya in the Vivienne Westwood gown she had originally worn to the 2015 Oscars, her first. Rewearing a piece that personal to begin the campaign was a deliberate choice, one that set the tone for everything that followed. Weeks later, she appeared in a Giorgio Armani gown previously worn by Cate Blanchett at the 2025 Venice Film Festival, a nod to the borrowed component of the rhyme that also doubled as a quiet tribute to the history of the dress itself.
The borrowed category extended further back in time, too. At the Essence Black Women in Hollywood Awards in March, Roach pulled the asymmetrical Caché mini dress worn by the character Carrie Bradshaw in the Sex and the City film, pairing it with Cartier jewelry and white pumps.
Something new, something blue
A custom white Louis Vuitton gown with a black bow-styled train handled the new. The piece was designed specifically for the tour and sat somewhere between red carpet gown and wedding dress, which appeared to be entirely the point.
The blue arrived at the tour’s close in the form of a Schiaparelli gown constructed from thousands of hand-dyed silk feathers that shifted from bright blue into midnight black. It was the most theatrical piece of the run and functioned as a finale that matched the film’s darker final act.
In between the four major premieres, Zendaya appeared in additional looks that continued the bridal thread, including a sheer Di Petsa dress worn to the New York afterparty that served as a secondary nod to the something blue tradition.
Roach and Zendaya’s place in press tour history
What separates this run from previous ones is the degree of narrative structure behind it. Roach and Zendaya have always worked thematically, leaning into tennis iconography for Challengers and science-fiction silhouettes for Dune. This time, the theme ran deeper. Each look built on the one before it, following a sequence that mirrored the film’s own story arc.
The closest recent comparison is the Barbie press tour, where Margot Robbie and her stylist Andrew Mukamal turned every appearance into a new iteration of the character. Both campaigns shared the same quality: they made the audience feel like participants rather than observers.
Zendaya’s appearance at the Oscars in March, where she presented alongside costar Robert Pattinson in a custom brown one-shouldered Louis Vuitton dress, also drew attention for a different reason. It was one of the first public appearances in which she wore what appeared to be a wedding band alongside her engagement ring from Tom Holland, adding a personal layer to a press tour already built around the theme of marriage.
With The Drama now in theaters, Zendaya and Roach are expected to shift toward a packed stretch that includes Euphoria, The Odyssey, Spider-Man: Brand New Day and Dune: Part Three, all scheduled to arrive this year.
