devil

Twenty years after its initial release, The Devil Wears Prada 2 premiered in the Netherlands, signaling a shift in how the fashion industry and media interact. The film, starring Meryl Streep and Anne Hathaway, highlights the vulnerabilities of the fashion world and the media landscape, and notably, the industry was eager to participate in its creation this time around.

In 2006, ahead of the first film’s release, Anna Wintour, then editor-in-chief of American Vogue, reportedly wasn’t pleased. Based on a book by her former assistant, Lauren Weisberger, the story centered on a fictional fashion magazine, Runway, and its demanding editor, Miranda Priestley, widely seen as a parallel to Wintour. Wintour initially claimed she couldn’t recall Weisberger, and fashion houses like Lanvin and Jean Paul Gaultier hesitated to collaborate on the film without her approval. However, Wintour ultimately attended a pre-screening, notably wearing Prada.

The sequel presents a stark contrast. Wintour visited the set, participated in promotional events, and even appeared on the cover of American Vogue alongside Streep. “She realizes that she has to participate this time, otherwise she loses relevance,” says mode consultant Yeliz Çiçek.

This change reflects a broader shift in the fashion industry. Twenty years ago, the world of fashion was more closed off, hierarchical, and characterized by strong egos. However, the times have changed, influenced by scandals and a growing awareness of cultural sensitivities. This has led to a “rebranding” of Anna Wintour, who has become more open and less of a distant figure. She aims to avoid appearing outdated.

The film as well addresses the challenges facing fashion magazines in the digital age. This is a realistic scenario, according to Çiçek, who experienced firsthand the questions Wintour posed about navigating the digital landscape during a job interview. “You can’t just craft a magazine anymore,” she notes.

Wintour stepped down as editor-in-chief of American Vogue last year but continues to lead the international editions of the magazine and other titles under Condé Nast. Marketing professor Peeter Verlegh sees a strong integration between the film, Vogue, Wintour, and various fashion brands, all benefiting from the collaboration.

“It’s an excellent opportunity to place Vogue back on the map,” Verlegh says, at a time when many fashion magazines are struggling with declining circulation. The original film became a cult classic, and Wintour’s involvement ensures she remains relevant.

The way films are promoted has also evolved. “The Devil Wears Prada came out 20 years ago. Instagram didn’t exist then,” says Georgette Koning, editor-in-chief of Mirror Mirror magazine. The increased focus on the lead actors, brands, and cameos, particularly on social media, is a natural progression.

Social media has become the standard for driving audiences to theaters. Examples like the blockbusters Barbie demonstrate the power of creating buzz on social media before a film’s release. Sharing modest clips and promotional content is now a key strategy, as it’s engaging, shareable, and more appealing than traditional advertising.

Verlegh emphasizes that the marketing surrounding the film is meticulously planned. He believes the film can handle the commercial attention, as it’s a Hollywood interpretation of the fashion world and doesn’t pretend to be a documentary.