Lead
Anna Wintour, the outgoing editor-in-chief of Vogue, has publicly commented on Meryl Streep’s portrayal of a powerful fashion-mag editor in the 2006 film The Devil Wears Prada. Speaking to New Yorker editor David Remnick on his podcast, Wintour said she attended the film’s premiere wearing Prada and expected concern from the industry about how she might be depicted. While acknowledging the portrayal as a caricature, she praised the film’s subtlety, humor and performances, ultimately calling it “a fair shot.” Her remarks arrive as a sequel films in New York and after Vogue announced Chloe Malle as Wintour’s successor.
Key Takeaways
- Anna Wintour commented on the 2006 film in a recent interview with The New Yorker podcast, describing the depiction as both caricatured and surprisingly subtle.
- Wintour said she attended the original premiere wearing Prada and noted colleagues were worried about how she would appear on screen.
- Meryl Streep was Oscar-nominated for her role as the fictional editor Miranda Priestly; Wintour praised Streep, Emily Blunt and Anne Hathaway.
- The original film grossed $326 million worldwide against a $40 million budget, a commercial success that boosted its cultural footprint.
- A sequel is currently shooting in New York, with Kenneth Branagh joining returning leads Streep, Hathaway, Blunt and Stanley Tucci.
- Wintour recently relinquished the editor-in-chief role at Vogue to Chloe Malle and remains chief content officer at Condé Nast and global editorial director of Vogue.
Background
The Devil Wears Prada was adapted from a novel by Lauren Weisberger, a former assistant in the fashion world whose book and the subsequent 2006 film offered a satirical take on high-fashion magazine life. The film’s depiction of a commanding editor—widely read as Miranda Priestly—became a cultural touchstone for portrayals of power, fashion and workplace relationships. Meryl Streep’s performance earned industry acclaim and an Academy Award nomination, while Anne Hathaway and Emily Blunt anchored the story’s vantage points on ambition and labor in a demanding environment.
Anna Wintour has long been linked in public conversation to the fictional editor, a comparison she has historically handled with caution. As Vogue’s editor-in-chief for decades, Wintour shaped fashion coverage and public perceptions of the industry; her demeanor and influence made her a natural reference point for a high-profile satire. The film’s commercial and cultural success amplified those associations, and the title has remained part of the fashion-media lexicon ever since.
Main Event
In the New Yorker podcast conversation with David Remnick, Wintour said she attended the film’s premiere wearing Prada and had not known what to expect. Industry colleagues, she recalled, were concerned the movie would portray her negatively—anxiety she said was both understandable and misplaced. Remnick characterized the film as “cartoonish,” a description Wintour accepted, calling the on-screen editor a caricature while also noting the movie’s unexpected nuance.
Wintour praised the film’s writing, comedic tone and performances. She singled out Meryl Streep’s work and noted Emily Blunt and Anne Hathaway as standout contributors to the film’s success. Wintour also mentioned conversations with designer Miuccia Prada, saying the two discussed the film frequently and that the portrayal had been beneficial, including a quip that it was “really good for you,” referring to Prada.
When asked previously about similarities between herself and Miranda Priestly, Wintour had declined to judge, telling the BBC at a staging of the West End musical adaptation that such comparisons were for audiences and colleagues to decide. Her more recent remarks represent a belated but measured appraisal—neither full endorsement of the likeness nor strong rejection of the film’s depiction.
Analysis & Implications
Wintour’s comments matter because they recalibrate the public relationship between a leading industry figure and a popular cultural portrayal. By acknowledging the caricature but praising the film’s craft, she reduces the potential for a defensive posture and positions herself as capable of taking the satire in stride. That posture can defuse long-running narratives that such portrayals are personal attacks rather than cultural artifacts.
The timing is notable: Vogue has appointed Chloe Malle as editor-in-chief, marking a generational handover while Wintour retains senior editorial roles at Condé Nast. Her conciliatory tone may smooth the transition internally and signal to advertisers, collaborators and readers that leadership continuity is intact even as the brand modernizes. For the fashion industry, the exchange underscores how pop culture and industry image-making feed each other—film influences perception, and industry reactions shape subsequent coverage.
The sequel’s production in New York also raises questions about legacy and reinvention. Bringing back original principals and adding Kenneth Branagh suggests producers seek both continuity and fresh angles; Wintour’s acceptance of the original’s “fair shot” could reduce friction between talent, industry figures and the film’s promotional circuit. Commercially, the original’s $326 million gross demonstrates durable audience appetite for fashion-world storytelling that blends satire with star power.
Comparison & Data
| Item | 2006 Film |
|---|---|
| Production budget | $40 million |
| Worldwide box office | $326 million |
| Principal cast | Meryl Streep, Anne Hathaway, Emily Blunt, Stanley Tucci |
The film’s return on investment was substantial: a $40 million budget yielding $326 million worldwide classifies it as a significant commercial success for a star-driven comedy. That financial result helped maintain the property’s visibility and underpinned subsequent adaptations, including a West End musical and the current sequel production.
Reactions & Quotes
Public reaction to Wintour’s remarks has ranged from relief among industry figures to renewed discussion among fans and critics about the boundaries between real-life inspiration and fictional creation. Below are representative statements and the context around them.
“I went to the premiere wearing Prada, completely having no idea what the film was going to be about.”
Anna Wintour, New Yorker podcast
This line framed Wintour’s initial exposure to the film and the surprise she described at its mix of caricature and finesse. It underlines her claim that the premiere experience was not preconditioned by expectation of a direct attack.
“Yes, a caricature.”
Anna Wintour, on Remnick’s ‘cartoonish’ description
Wintour’s short concession to the cartoonish reading established a baseline: she accepts the film’s exaggerated elements while distinguishing them from wholly unfair representation.
“It was a fair shot.”
Anna Wintour
This succinct verdict—offered after praise for the film’s wit and performances—serves as her closing assessment and has become the most cited line from the conversation.
Unconfirmed
- No direct, verifiable confirmation has been published that specific incidents in the novel or film were taken from Wintour’s personal conduct; such links remain interpretive rather than documentary.
- Details about any private conversations between Wintour and the filmmakers or cast regarding the original film’s depiction have not been publicly disclosed.
- Reports about the sequel’s plot specifics and how closely it will revisit or revise the original’s portrayal of editorial life remain unconfirmed pending official synopsis release.
Bottom Line
Anna Wintour’s measured remarks close a chapter of public conjecture without resolving every question about real-life inspiration. By acknowledging caricature while praising the film’s craft and performances, she neutralizes a longstanding cultural narrative that had sometimes been treated as a personal grievance. Her verdict—”a fair shot”—functions as a pragmatic acceptance of how fiction and industry image intersect.
Looking ahead, the sequel’s production and Vogue’s leadership transition will keep scrutiny on how fashion institutions are represented in popular culture. Wintour’s continuing senior roles at Condé Nast and her recent public stance suggest she intends to manage reputation and influence through engagement rather than litigation or silence, a posture likely to shape media and industry responses in the months to come.
Sources
- The Guardian (news report summarizing Wintour’s interview and context)
- The New Yorker (podcast interview, media)
- BBC (news report cited for Wintour’s earlier remark at the West End musical)