A New Chapter for Anna Wintour and The Devil Wears Prada
For many years, Anna Wintour maintained a frosty distance from the cultural phenomenon that was The Devil Wears Prada. As the real-life inspiration behind Meryl Streep’s iconic character, Miranda Priestly, her response to the film and its source material was as icy as the character she helped create. When attending a West End adaptation of the movie, which itself was based on Lauren Weisberger’s novel, Wintour reportedly told the BBC that it was up to the audience and those who worked with her to decide if there were any similarities between her and the fictional Miranda.
This stance was echoed when it came to the book itself. Leslie Fremar, the real-life model for Emily, the character played by Emily Blunt in the film, revealed that Wintour had once “warned” her about the novel after its 2003 release. According to Fremar, she received a call from Wintour’s office asking to meet. “I was petrified,” she recalled. Wintour reportedly asked, “Who’s Lauren Weisberger?” and upon learning that she was a former junior assistant, responded, “Well, she wrote a book about us, and you’re worse than me.”
At the time, Wintour avoided making a public statement about whether she had read the book or not. Meanwhile, Condé Nast, the publisher of Vogue, remained silent, clearly not eager to engage with the controversy.
A Shift in Attitude
Fast forward two decades, and the relationship between Wintour and The Devil Wears Prada has undergone a dramatic transformation. The sequel to the 2006 film recently hit cinemas, and while Wintour does not appear in it, she has been heavily involved in its promotion.
One of the most notable moments was when Wintour and Meryl Streep posed together on the cover of Vogue in April—a rare move given Wintour’s long-standing refusal to be featured on the magazine’s cover. Both wore Prada, a nod to the film’s iconic style. The magazine also released a short film featuring the pair meeting outside an elevator, with Streep quipping, “Don’t I know you from somewhere?” It was a full-circle moment that fans had been eagerly anticipating.
A Cultural Comeback
In addition to the cover shoot, Vogue announced that Weisberger’s original novel would be a May pick for its book club. The magazine also hosted an early screening of the sequel, inviting real-life former Wintour assistants, and even featured the real-life Emily on its podcast The Run-Through. Weisberger herself contributed an op-ed reflecting on her experience since publishing the now-iconic text.
Time, Money, and Relevance
Time has a way of healing wounds, and more than two decades have passed since the book first launched. Wintour no longer holds the same position she did when the story first emerged—she stepped down as editor-in-chief last year, becoming Vogue’s global chief content officer instead. This shift may have softened the impact of the sequel, but it’s clear that the magazine is now embracing its role in the cultural conversation.
Money has also played a part in this change. While the first film initially faced criticism, it went on to become a massive commercial success, grossing over $457 million globally. The film helped revive cerulean fashion and inspired a generation of aspiring fashion journalists.
With the announcement of the sequel in 2024, Vogue seemed eager to align itself with the zeitgeist. Under new editor-in-chief Chloe Malle, the magazine has shown a desire to tie its print issues with major cultural events. If The Devil Wears Prada 2 isn’t a cultural event, what is?
A Question of Timing
While it’s refreshing to see a high-end fashion magazine embrace its own legacy, it also raises questions about timing. The magazine’s sudden enthusiasm for the franchise could be seen as a calculated move to remain relevant in a world increasingly dominated by social media-driven beauty standards. After years of silence, the outpouring of support from Vogue might seem more like a strategic maneuver than genuine enthusiasm.
There’s also the issue of how this partnership affects the film itself. The first movie received little support from Vogue, allowing it to thrive as a witty underdog satire. With Vogue now on board, the relationship between the film and the media feels more commercial, almost like an advertisement.
Despite these concerns, the sequel has already received glowing reviews, with some critics admitting it made them cry. It seems that, regardless of the motivations behind it, the film is set for massive box office success.
As Miranda Priestly famously said in the first film: “Everybody wants this. Everybody wants to be us.” Whether it’s a calculated move or a genuine embrace of its legacy, Vogue has finally joined the party.
