Nearly two decades after its release, the 2006 film "The Devil Wears Prada" is still making headlines—this time, thanks to the woman at the heart of its inspiration. On September 10, 2025, Anna Wintour, the outgoing editor-in-chief of Vogue, finally offered her candid review of the movie and Meryl Streep’s now-iconic portrayal of a fearsome fashion magazine editor, a character widely assumed to be based on Wintour herself.
Wintour’s remarks came during an episode of The New Yorker Radio Hour, where she reflected on the film’s legacy, her own reaction to its depiction of the fashion world, and the industry’s initial anxiety over how she would be portrayed. Her comments arrived at a fitting moment: she recently stepped down as Vogue’s editor-in-chief after an extraordinary 37-year tenure, though she continues to serve as chief content officer for Condé Nast and global editorial director of Vogue.
For years, Wintour had sidestepped the question of how she felt about Streep’s turn as Miranda Priestly—the icy, exacting editor of the fictional magazine Runway. The character, with her sharp bob and withering gaze, became a pop culture touchstone, and the film’s biting humor and glamorous setting cemented its status as a modern classic. Yet, as Wintour revealed, she entered the film’s premiere wearing Prada but “completely having no idea what the film was going to be about.” According to The Guardian, she recalled, “the fashion industry were very sweetly concerned for me about the film, that it was going to paint me in some kind of difficult light.”
Those worries, it turns out, were unfounded. “First of all, it was Meryl Streep, [who is] fantastic,” Wintour said on The New Yorker Radio Hour. She described the film as “highly enjoyable and very funny,” adding, “It had a lot of humor to it, it had a lot of wit, it had Meryl Streep. I mean, it was Emily Blunt, [and] they were all amazing. In the end, I thought it was a fair shot.”
Wintour didn’t shy away from acknowledging the caricature aspects of Streep’s performance. When interviewer David Remnick suggested the film was “cartoonish,” she agreed, noting, “Yes, a caricature.” Yet, she was quick to point out that she was also surprised by the subtlety in the portrayal. “I found it highly enjoyable. It was very funny. Miuccia [Prada] and I talk about it a lot, and I say to her: ‘Well, it was really good for you,’” Wintour quipped, referencing the Italian fashion designer whose brand was front and center in the film’s title and wardrobe.
Based on Lauren Weisberger’s 2003 bestselling novel—which drew from her own experience as Wintour’s assistant—the film follows Anne Hathaway’s character, an aspiring writer who lands a job at a high-fashion magazine under the demanding Miranda Priestly. Streep’s performance earned her an Academy Award nomination, and the film itself became a box office hit, grossing $326 million globally from a $40 million budget, according to The Guardian.
Despite the film’s enduring popularity, Wintour had long kept her thoughts private. As recently as last year, she told the BBC at a performance of the West End musical adaptation that it was “for the audience and for the people I work with to decide if there are any similarities between me and Miranda Priestly.” Now, with the benefit of time and cultural hindsight, she seems to have embraced the film’s legacy—and even its lampooning of her persona.
Her timing couldn’t be better. A sequel to "The Devil Wears Prada" is currently in production, with a planned release in May 2026. Fans will see the return of the original cast: Meryl Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci are all reprising their roles, while new faces like Kenneth Branagh, Justin Theroux, and Lucy Liu are joining the ensemble. Adrian Grenier, who played Hathaway’s boyfriend in the original, will not appear in the follow-up. The sequel is filming in New York, adding a new chapter to the story that first captivated audiences in 2006, as reported by the Los Angeles Times and The Guardian.
Wintour’s reflections also come at a time of transition for Vogue itself. After her June 2025 announcement stepping down as editor-in-chief, the magazine named Chloe Malle—daughter of renowned French director Louis Malle—as her successor. Wintour, however, retains significant influence in the fashion media world, continuing to oversee Condé Nast’s global content strategy across titles such as GQ, Vanity Fair, and Wired.
For many in the fashion industry, Wintour’s words offered a sense of closure. Her willingness to laugh at the film’s portrayal—and to praise its wit and performances—signals a softening of the icy reputation that has long followed her. As she put it, “In the end, I thought it was a fair shot.” The phrase, simple as it is, carries weight: it acknowledges the film’s exaggerations while recognizing the kernels of truth in its depiction of a high-pressure, high-glamour world.
The cultural impact of "The Devil Wears Prada" cannot be overstated. It not only brought the world of fashion journalism to mainstream audiences but also sparked countless debates about ambition, mentorship, and the price of success. The film’s sharp dialogue, memorable fashion moments, and Streep’s unforgettable performance ensured its place in cinematic history. Its success at the box office and its continued relevance—evidenced by the sequel and Wintour’s own reflections—show just how deeply it resonated with viewers and insiders alike.
Even as she steps back from her day-to-day role at Vogue, Anna Wintour’s influence endures. Her embrace of the film that once threatened to define her public image is a testament to her sense of humor, perspective, and, perhaps, her understanding that sometimes the sharpest critiques are the ones that stick with us the longest. As the world awaits the sequel, it’s clear that both Wintour and Miranda Priestly—real and fictional—remain as fascinating as ever.
With a new era dawning at Vogue and "The Devil Wears Prada" set to return to the big screen, the fashion world finds itself at a familiar crossroads: balancing tradition and reinvention, seriousness and satire, with Anna Wintour still, in many ways, setting the tone.
