Sequel to The Devil Wears Prada Premieres as Fashion Industry Reflects on Change
Introduction
The long-awaited sequel to The Devil Wears Prada had its London premiere this week, followed by a gala at the National Gallery. The film revisits the fashion world twenty years after the original, addressing the decline of print media and changing power dynamics in the industry.
Main Body
The premiere event was hosted by Donatella Versace in a roped-off area beneath a painting. Meryl Streep, who plays editor Miranda Priestly again, wore a red satin Prada coat and black sunglasses, a reference to the film's title and Vogue editor Anna Wintour. Magazine editors from several countries attended, and the menu included fried chicken with caviar and mac and cheese. Screenwriter Aline Brosh McKenna said she was surprised by the support from businesses that were satirized in both films. She noted that the industry has embraced the franchise despite its critical portrayal. The film's story focuses on Priestly's efforts to guide Runway magazine through the decline of print publishing. Staff members who attended the premiere described the plot, on condition of anonymity, as "close to the bone." Director David Frankel observed that fashion remains appealing because humans are drawn to beauty and identity remaking. The original novel, written by a former assistant to Wintour, was criticized by fashion insiders in 2003, and brands refused to lend clothes for the first film. In contrast, the sequel features many designer pieces and cameos from Versace and other industry figures, reflecting a shift in the industry's power structure. The move to digital, the end of gatekeeping, and a cultural shift away from institutional authority have changed the roles of editors and designers. In the sequel, Emily Blunt's character, Emily Charlton, now works for a luxury brand and has influence over her former boss. Frankel stated that the media business is currently shrinking, with artificial intelligence adding to the uncertainty. He described the film as addressing these challenges and called Miranda Priestly a heroic figure navigating difficult times. The franchise, once seen as a criticism of the fashion world, has become part of the industry's own mythology, with editors and designers eager to help promote the sequel. The film's publicity also highlights the lasting influence of Anna Wintour, who appears on the cover of American Vogue alongside Streep, photographed by Annie Leibovitz and styled by Grace Coddington—all women in their seventies or eighties. This collaboration shows changing attitudes toward older women in Hollywood and fashion, where celebrity power has challenged age-based sexism. McKenna noted that fashion creates iconic women with long careers, citing figures such as Coco Chanel and Diana Vreeland. An analysis of price changes for items featured in the original film shows significant inflation over 20 years. A Chanel jacket increased by about 80%, a Fendi bag by 147%, Jimmy Choo shoes by 122%, and an Hermès scarf by 119%. These figures show the broader trend of rising luxury goods prices, often called "fash-flation." In a radio interview, Streep described watching Lady Gaga perform a song she wrote for the film as "astonishing." Gaga, who was on a world tour, recorded the track with Doechii and improvised multiple takes with little rehearsal. Anne Hathaway added that Gaga was humble and happy to participate. Streep said she had not expected to reprise her role 20 years later, having thought she was retired at age 56. She noted that the sequel offered more creative freedom because the story is entirely fictional and not based on real people. The idea for a sequel came three years after the first film, but the project only happened two years ago when McKenna developed a concept that addressed current issues. Streep emphasized that the cast wanted the film to have a meaningful reason to exist beyond making money.
Conclusion
The release of The Devil Wears Prada 2 highlights the fashion industry's ability to adapt to digital disruption, while the film itself serves as both a satire and a celebration of its subject. The sequel's reception shows that the franchise remains an important cultural reference, reflecting ongoing changes in media, power, and age representation.