Anna Wintour, the iconic editor-in-chief of Vogue, recently shared her thoughts on “The Devil Wears Prada,” a film that has captivated audiences since its release in 2006. Based on Lauren Weisberger’s novel, which was inspired by Wintour’s own experiences, the film features Meryl Streep as the formidable editor Miranda Priestly and Anne Hathaway as Andy Sachs, an aspiring journalist and her assistant.
In a revealing conversation with New Yorker editor David Remnick, Wintour recounted her initial experience at the film’s premiere, where she wore Prada—however, she was unaware of the film’s premise. Reflecting on her initial reactions, Wintour mentioned that the fashion industry had expressed concern that the film might portray her unfavorably. Remnick suggested that the characterization might be “cartoonish,” to which Wintour concurred, describing it as a “caricature.”
However, in a surprising turn, Wintour expressed admiration for the film’s execution. “I found it highly enjoyable; it was very funny,” she remarked, emphasizing the humor and wit woven throughout the narrative. She also noted the film’s positive impact on the fashion industry, stating, “Well, it was really good for you,” in reference to Miuccia Prada, which highlights the film’s endorsement of fashion’s vibrant and humorous dimensions.
Wintour’s acknowledgment of Streep’s performance as Miranda was particularly noteworthy. Streep earned an Oscar nomination for her portrayal, a testament to her skill in bringing depth to a character who could have easily veered into mere caricature. Wintour’s endorsement further cements the film’s significance in capturing the complexities of the fashion world, even if it is presented in a comedic lens.
Historically, Wintour had skirted questions regarding the film, often underlining that it was up to the audience to connect any similarities between her and the fictional Miranda Priestly. Her previous reluctance to comment reflects the challenges of managing public perception while being a prominent figure in the industry.
As Wintour steps back from her role as editor-in-chief, passing the torch to Chloe Malle, she remains involved in the global editorial direction for Vogue and Condé Nast. This transition comes amid the ongoing production of a sequel to “The Devil Wears Prada,” which is set to reunite the film’s original stars, including Streep and Hathaway.
The film’s legacy has extended far beyond its box office success—grossing $326 million against a mere $40 million budget. It has influenced popular culture and fashion in various ways, solidifying its status as a classic. Wintour’s belated recognition of the film’s positive attributes serves to bridge the gap between the reality of the fashion industry and the artistic liberties taken in its portrayal.
In conclusion, Anna Wintour’s insights into “The Devil Wears Prada” highlight not only her character’s complexity but also the film’s overarching significance in how it blends humor and critique in a fashion context. As both Wintour and the film continue to evolve in the public’s imagination, their connection remains a fascinating study of artistry, perception, and the world of fashion.
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