Sequel to The Devil Wears Prada Premieres Amidst Reflection on Fashion Industry's Evolution
Introduction
The long-awaited sequel to The Devil Wears Prada held its London premiere this week, followed by a gala at the National Gallery. The film revisits the fashion world two decades after the original, addressing the decline of print media and shifting power dynamics within the industry.
Main Body
The premiere event was hosted by Donatella Versace in a roped-off area beneath Paul Delaroche’s painting The Execution of Lady Jane Grey. Meryl Streep, reprising her role as editor Miranda Priestly, wore a red satin Prada coat and black sunglasses, a reference to both the film’s title and Vogue editor Anna Wintour. Magazine editors from Spain, Germany, and the Netherlands attended, and the menu included fried chicken with caviar and mac and cheese presented under silver cloches. Screenwriter Aline Brosh McKenna expressed surprise at the level of support from businesses that were satirized in both the original and the sequel, noting that the industry has embraced the franchise despite its critical portrayal. The film’s narrative centers on Priestly’s efforts to steer 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 retains its appeal because humans are drawn to beauty and identity remaking. The original novel, written by a former assistant to Wintour, was denounced by fashion insiders in 2003, and brands refused to lend clothes for the first film. In contrast, the sequel features numerous designer pieces and cameos from Versace and other industry figures, reflecting a shift in the industry’s power structure. The move to digital, the erosion of gatekeeping, and a cultural shift away from institutional authority have reconfigured the roles of editors and designers. In the sequel, Emily Blunt’s character, Emily Charlton, now works for a luxury brand and holds influence over her former boss. Frankel stated that the media business is currently facing a contraction, with the advent of artificial intelligence adding to the uncertainty. He described the film as addressing these challenges and characterized Miranda Priestly as a heroic figure navigating turbulent waters. The franchise, once seen as a takedown of the fashion world, has become a part of the industry’s self-mythology, with editors and designers eager to participate in the sequel’s promotion. The film’s publicity also highlights the enduring 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 underscores 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 lasting careers, citing figures such as Coco Chanel and Diana Vreeland. An analysis of price changes for items featured in the original film reveals significant inflation over 20 years. A Chanel jacket increased by approximately 80%, a Fendi bag by 147%, Jimmy Choo shoes by 122%, and an Hermès scarf by 119%. These figures illustrate the broader trend of rising luxury goods prices, often referred to as “fash-flation.” In a radio interview, Streep described witnessing Lady Gaga perform a song she wrote for the film as “astonishing.” Gaga, who was in the midst of a world tour, recorded the track with Doechii and improvised multiple takes with minimal rehearsal. Anne Hathaway added that Gaga was humble and happy to participate. Streep stated that she had not expected to reprise her role 20 years after the original, 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 individuals. The idea for a sequel emerged three years after the first film, but the project only materialized two years ago when McKenna developed a concept that addressed contemporary issues. Streep emphasized that the cast wanted the film to have a substantive reason for existing beyond commercial gain.
Conclusion
The release of The Devil Wears Prada 2 underscores the fashion industry’s resilience and adaptation to digital disruption, while the film itself serves as both a satire and a celebration of its subject. The sequel’s reception indicates that the franchise remains a significant cultural touchstone, reflecting ongoing changes in media, power, and age representation.