When The Devil Wears Prada premiered in 2006, it didn’t just capture the imagination of moviegoers—it also prompted countless comparisons to Vogue’s legendary editor-in-chief, Anna Wintour. For years, Wintour remained mostly silent or circumspect about how she felt about the film’s portrayal of a high-powered magazine world. But in a recent public discussion, the 75-year-old fashion icon surprised many by admitting she enjoyed the film—and found it genuinely funny.
The Context: Fiction, Inspiration, and the Burden of Comparison
To understand why Wintour’s remarks are notable, we need to revisit the story behind The Devil Wears Prada. The film is based on Lauren Weisberger’s 2003 novel of the same name, which itself was widely interpreted as drawing from Weisberger’s experience as an assistant (or former assistant) in the fashion magazine world. While Weisberger has said the book was not a direct memoir and that she drew from multiple influences, readers immediately associated the cold, demanding editor Miranda Priestly with Wintour. SlashFilm+3Wikipedia+3Wikipedia+3
When the film adaptation was released, its depiction of the ruthless but glamorous magazine industry—along with Meryl Streep’s unforgettable performance—cemented The Devil Wears Prada as a cultural touchstone. Still, for Wintour, whose public persona is often seen as austere and distant, the film posed a delicate question: Would she embrace it, reject it, or remain guarded?
Over the years, she often gave noncommittal responses. In earlier interviews, Wintour called the movie “entertainment” and said it was “not a true rendition of what happens within this magazine.” SlashFilm+2British Vogue+2 She declined to explicitly confirm whether she shared traits with Miranda Priestly, remarking that such judgments are for “the audience and the people I work with” to decide. People.com+1
Wintour’s Surprising Take: “Highly Enjoyable,” “Very Funny,” and a Fair Shot
In a new revelation, Wintour broke her long silence and openly shared how she now views the film. In a recent episode of The Run-Through with Vogue podcast (via The New Yorker Radio Hour), she reflected on her reactions to the movie—with a tone of genuine amusement and acceptance. The Guardian+2People.com+2
Wintour confessed that she walked into the film’s premiere “wearing Prada, completely having no idea what the film was going to be about.” People.com+1 She acknowledged concerns from insiders in the fashion world that the film might portray her harshly or unfairly. But rather than bristle, she said:
“I found it highly enjoyable and very funny.” The Guardian+2People.com+2
“It had a lot of humor. It had a lot of wit. It had Meryl Streep … and I, in the end, I thought it was a fair shot.” People.com+2Cinemablend+2
She also noted that she frequently discusses the film with Prada designer Miuccia Prada, quipping, “I say to her: ‘Well, it was really good for you.’” The Guardian+1
By calling it a “fair shot,” Wintour concedes that while the film is exaggerated and stylized, it captures enough truth—through performance, tone, or broader sentiment—to merit respect. Her choice of words is telling: she doesn’t reject the portrayal outright but frames it as a somewhat caricatured but artful version of the fashion world’s extremes.
Why Her Reaction Matters
For decades, Wintour cultivated a mystique. Her signature bob, dark sunglasses, and carefully metered public persona made her both venerated and intangible. To many, she embodied the real-life basis for Miranda—impenetrable, commanding, aloof. Wikipedia+2British Vogue+2 By contrast, The Devil Wears Prada gave viewers a dramatic, often brutal, inside look at the pressures, power plays, and relationships in fashion.
Wintour’s decision to embrace the film (rather than dismiss or distance from it) subtly shifts the narrative. Here are a few reasons why her stance carries weight:
- It humanizes her. Accepting humor directed at one’s self is a sign of confidence. Instead of recoiling at caricature, Wintour acknowledges it with grace.
- It lends legitimacy to the film’s ambition. Calling the movie “very funny” and “a fair shot” affirms that it wasn’t merely a sensationalist takedown but a thoughtful, satirical representation.
- It rewires public perception. For critics or fans who once dismissed the film as glib or unfair, Wintour’s verdict undermines that stance.
- It dampens illusions. Wintour has long been cast as the untouchable fashion queen. Her comments suggest she sees more nuance behind the glare.
Did the Film Hit Too Close to Home?
Naturally, many wondered whether the film’s portraits stung—even slightly—for Wintour. After all, Miranda Priestly is a demanding, often merciless boss. Did she ever feel mischaracterized or hurt?
In past interviews, Wintour maintained distance. She once remarked that she doesn’t always make “warm and cuddly” decisions, and sometimes colleagues don’t hear the answer they’d like—but that’s part of leadership. The Tab In an earlier British Vogue piece, she was described as “bemused” by the film rather than angered. SlashFilm+1 In Anna: The Biography, author Amy Odell recounts that Wintour initially told a Vogue editor she didn’t remember the author of the novel—a remark that seems more dismissive than defensive. SlashFilm
What stands out now is that Wintour no longer seems compelled to guard her reputation so carefully. By choosing to applaud The Devil Wears Prada as an entertaining, witty depiction—while acknowledging its caricature—she signals a comfort with self-reflection few maintain in public life.
The Impact on the Film’s Legacy
Since its release, The Devil Wears Prada has become more than just a fashion comedy-drama; it’s a cultural touchstone, a shorthand for workplace power dynamics, ambition, identity, and compromise. In the years since, it’s been cited in articles about corporate culture, women in leadership, and the sacrifices demanded in high-stakes creative industries.
Wintour’s new commentary cements the film’s legitimacy—and it may shift how future audiences interpret it. Instead of seeing it solely as a pointed critique, one might see it as a stylized satire with its own merits, intentionally exaggerated yet grounded in kernels of truth.
Her remarks may also encourage others in her world—fashion insiders, journalists, executives—to be more open about how art depicts them, whether in admiration, critique, or parody. In effect, Wintour’s open-minded reaction may embolden more honest dialogue between real-life subjects and their fictional representations.
What Wintour’s Reaction Tells Us (and What It Doesn’t)
What it reveals:
- A sense of humor. Her delight in its wit shows that she can step back from her own mythos and appreciate the artistry of others.
- Perspective and resilience. She frames The Devil Wears Prada as a film, not a threat, and doesn’t seem rattled by its barbs.
- Confidence in her legacy. By not insisting the portrayal be “correct,” she implies she already owns her narrative.
- A willingness to engage. Her participation in this recent interview signals a shift from guarded to more open expressions.
What it doesn’t settle:
- Exact similarities. She still leaves comparisons between her and Miranda Priestly to others to judge. People.com+1
- All past feelings. It’s unclear what she might have thought privately when the film first came out or when the novel circulated.
- Any personal offense. While she frames the film kindly, she doesn’t explicitly say she was never hurt—it’s more that she’s unconcerned now.
A Final Word: She Wears Prada, But She Took the Joke
It’s ironic—and revealing—that the woman long associated with an icy, untouchable image now embraces a film that caricatured such traits. By calling The Devil Wears Prada “highly enjoyable” and “very funny,” Anna Wintour demonstrates a rare ability for self-distance, a mark of maturity and public grace.
Wintour’s stance may not reconcile every criticism, but it reframes the conversation. Rather than a defensive posture against caricature, she offers a disarming wink: Yes, you can laugh. And maybe there’s more than a little truth in the joke.
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