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Anna Wintour, who has long embodied the high priestess of fashion in the real world, has never really identified with Miranda Priestly<\/b>. Since 2006<\/b> and the release of the film The Devil Wears Prada<\/b>, the former editor-in-chief of US Vogue has kept her distance from this fictional alter ego who has become a cult figure<\/b>. For while the prestige of having inspired a character might have boosted the fashion queen\u2019s ego, Miranda Priestly\u2019s tyrannical and unlikable nature did little to highlight her joie de vivre and kindness.<\/p>\n
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The actress succeeded in permanently cementing the image of the icy boss lady of the fashion world, as uncompromising and feared as she is sarcastic.<\/strong> She thus gave rise to numerous fictional clones in cinema, such as the Baroness, portrayed by Emma Thompson in the film Cruella<\/b> (2021), but also\u2014and more surprisingly\u2014in the 2016 advertisement for Carte Noire coffee<\/b>.<\/p>\n <\/p>\n At the time, even the film\u2019s promotional campaign carefully avoided any overt comparisons, even though the public drew a fairly clear parallel with the journalist\u2014dark glasses perched on her nose, a strict bob, and a frozen smile. And then, in 2026, everything changed: for the first time, Anna Wintour no longer sidestepped the myth\u2014she embraced it.<\/b><\/p>\n <\/p>\n <\/p>\n It\u2019s an image that seemed impossible. And yet, here it is: Anna Wintour and Meryl Streep together on the cover of Vogue.<\/b> Photographed by Annie Leibovitz<\/b>, the scene is meticulously composed, almost cinematic. The silhouettes are sharp, the complicit smiles<\/b>, the dark glasses, of course, are all there. But here, nothing is caricatured<\/b>. We see the two women sitting side by side on two chairs in a natural pose or inside an elevator, echoing scenes from the first film where Miranda Priestly stepped out to head to her office in front of fearful employees.<\/p>\n <\/p>\n The genius of this cover lies in its subtlety: instead of pitting reality against fiction, it merges them<\/b>. Miranda Priestly is no longer a satire, Anna Wintour is no longer a supposed inspiration<\/b>\u2014the two figures coexist in the same visual space, like two expressions of the same power.<\/p>\n <\/p>\n One detail that speaks volumes: *The Devil Wears Prada* was originally a bestseller<\/b> published in 2003<\/b> and written by Lauren Weisberger<\/b>, who recounted her experience as an intern in the ruthless world of *Vogue* magazine… which was headed by Anna Wintour at the time. Other sources also mention Cruella de Vil, Martha Stewart, and even the ghost of Joan Crawford in *Mommie Dearest*<\/b>.<\/p>\n <\/p>\n During a recent appearance on *The Late Show with Stephen Colbert*, the 76-year-old American actress did, however, reveal her true inspirations for developing the character of Miranda Priestly\u2014namely a fusion of her experiences with directors Mike Nichols (*The Graduate*, *Working Girl*…) and Clint Eastwood.<\/strong> That is, two different approaches to directing a film set: wry humor<\/b> for the former, and a strong work ethic and a categorical refusal to raise one\u2019s voice<\/b>, keeping everyone on their toes, for the latter.<\/p>\n <\/p>\n <\/p>\n <\/p>\n Une publication partag\u00e9e par Vogue (@voguemagazine)<\/a><\/p>\n<\/div>\n<\/blockquote>\nAn interview by Greta Gerwig<\/h2>\n
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