In the world of fashion, few films have left as indelible a mark as The Devil Wears Prada. The 2006 satirical drama, based on Lauren Weisberger's novel, has become a cultural touchstone, with its witty commentary on the fashion industry and the larger-than-life character of Miranda Priestly, played by Meryl Streep. But the relationship between the film and the fashion industry's most powerful figure, Anna Wintour, has always been a bit of a love-hate affair. Now, two decades later, Wintour is fully embracing the film and its sequel, The Devil Wears Prada 2, and it's a fascinating shift in perspective.
A Complex Relationship
From the beginning, Wintour's response to the book and film was one of icy detachment. As the inspiration behind Miranda Priestly, Wintour was quick to distance herself from the character, telling the BBC, 'It's for the audience and for the people I work with to decide if there are any similarities between me and Miranda Priestly.' This was a classic Wintour move, a way of maintaining her power and influence by keeping a safe distance from the cultural phenomenon she had inadvertently created.
The tension between Wintour and the film was palpable. Leslie Fremar, the inspiration behind the character Emily, recalled Wintour's reaction to the book: 'I got a call from Anna's office saying she wanted to see me. I was petrified. [Wintour] said, 'Who's Lauren Weisberger? And I said, 'She was your junior assistant. And she's like, 'Well, she wrote a book about us, and you're worse than me.'
A Change of Heart
Fast-forward to the present, and Wintour's attitude has undergone a remarkable transformation. The sequel to the film, which landed in cinemas this week, has seen Wintour fully embrace the franchise. She posed with Streep on the cover of Vogue in April, an unprecedented move given Wintour's long-standing insistence on never featuring on the cover. They were, of course, both wearing Prada.
This shift in Wintour's attitude is particularly interesting, given her initial indifference. It's as if Wintour has finally realized that The Devil Wears Prada is more than just a film; it's a cultural phenomenon that has shaped the fashion industry and its perception. By embracing the film, Wintour is not just acknowledging its impact but also claiming a part of it for herself.
The Power of Cultural Phenomenon
The sequel to the film has received glowing reviews, with some critics admitting it made them cry. This suggests that Wintour's decision to fully embrace the franchise was a smart one, as it has clearly resonated with audiences. The film's success is a testament to the power of cultural phenomena, which can transcend their original context and become part of the cultural fabric.
However, Wintour's embrace of the film also raises a less favorable question: Is Vogue unfashionably late to the party? The magazine's sudden willingness to jump aboard this cultural phenomenon could, at least to some, reek of desperation to remain relevant in a world in which beauty standards are now largely driven by social media. After so much silence or indifference, the outpouring of support, including from the queen of Vogue herself, could scream calculated more than 'good sport'.
The Commercial Relationship
There's also the question of what it could mean for the film. The first movie received little support from Vogue, making it a witty underdog satire. With Vogue on-board, however, it almost becomes an advertisement, the mutually beneficial commercial relationship between film and media suddenly starkly obvious. This raises a deeper question: How much has the film's success been influenced by Wintour's embrace of it? Has the film become a vehicle for promoting Vogue's brand and values, or is it simply a cultural phenomenon that has resonated with audiences?
A Cultural Touchstone
In the end, it probably doesn't matter. The sequel has already been showered with praise, and it's gearing up for massive box office success. As Miranda says in the first film: 'Everybody wants this. Everybody wants to be us'. The film's success is a testament to its enduring appeal and the power of cultural phenomena to shape our lives and our perceptions.
In my opinion, Wintour's embrace of The Devil Wears Prada and its sequel is a fascinating shift in perspective. It's a reminder that cultural phenomena can transcend their original context and become part of the cultural fabric. It's also a reminder that the fashion industry is not immune to the power of cultural phenomena, and that even the most powerful figures can be influenced by them. Personally, I think this is a fascinating development, and one that will shape the future of the fashion industry and its relationship with popular culture.
