Introduction
This essay reviews the 2006 film *The Devil Wears Prada*, directed by David Frankel, from the perspective of fashion studies. Adapted from Lauren Weisberger’s novel, the film provides a dramatised glimpse into the high-stakes world of fashion journalism, focusing on the fictional magazine *Runway* and its formidable editor, Miranda Priestly (played by Meryl Streep). The purpose of this analysis is to explore how the film portrays the fashion industry’s power dynamics, aesthetic values, and cultural influence, while also considering its limitations in depicting the sector’s complexities. Key points of discussion include the representation of fashion as both art and commerce, the hierarchical structures within the industry, and the societal implications of fashion media. By critically engaging with these themes, this review aims to offer undergraduate-level insights into the intersections of fashion, identity, and capitalism.
Representation of Fashion as Art and Commerce
*The Devil Wears Prada* effectively illustrates the dual nature of fashion as both a creative pursuit and a commercial enterprise. The film showcases the meticulous artistry behind editorial fashion through scenes of photoshoots and design selections, reflecting how aesthetic innovation drives trends at elite levels (Barnard, 2002). Miranda’s monologue about the “cerulean blue” sweater is particularly significant, as it underscores the trickle-down effect of haute couture on mass markets, revealing fashion’s economic power (Entwistle, 2009). However, the film’s emphasis on high fashion as an exclusive domain overlooks the broader industry’s inclusivity debates, which have gained traction in recent scholarship (Kawamura, 2018). While the visual spectacle of *Runway* magazine celebrates creativity, it also hints at the commodification of beauty standards, where profit often eclipses artistic integrity. This tension is central to understanding fashion’s cultural role, though the film only superficially engages with such critiques.
Hierarchical Structures and Power Dynamics
Another key theme is the hierarchical nature of the fashion industry, vividly embodied by Miranda Priestly’s authoritarian leadership. Her character, inspired by real-life editors like Anna Wintour, represents the gatekeeping role of fashion elites in shaping trends and careers (Entwistle, 2009). The protagonist, Andy Sachs (Anne Hathaway), navigates this rigid structure as an outsider, highlighting the industry’s elitism and the personal sacrifices demanded for success. This mirrors real-world accounts of exploitative labour practices in fashion, often documented in studies of editorial and design roles (Kawamura, 2018). Yet, the film romanticises this struggle, framing Andy’s transformation through couture as empowerment rather than coercion. Arguably, this glosses over deeper systemic issues, such as class barriers and workplace toxicity, which are only briefly alluded to.
Societal Implications of Fashion Media
Finally, the film offers insights into fashion media’s societal influence, particularly in shaping ideals of beauty and identity. *Runway* magazine is depicted as a cultural arbiter, dictating norms that impact consumer behaviour and self-perception (Barnard, 2002). Scenes of Andy’s makeover reflect how fashion media can pressure individuals to conform to unattainable standards, a critique supported by academic discussions on body image (Entwistle, 2009). However, the film’s resolution—where Andy rejects the industry—feels simplistic, failing to explore how media could evolve to promote diversity or sustainability, pressing concerns in contemporary fashion studies (Kawamura, 2018). Indeed, while the film captures the allure of fashion media, it lacks depth in addressing its broader implications.
Conclusion
In conclusion, *The Devil Wears Prada* provides a compelling, if somewhat limited, portrayal of the fashion industry through its focus on art, commerce, hierarchy, and media influence. The film highlights the glamour and power of fashion while subtly acknowledging its challenges, such as elitism and societal pressures. However, its critical engagement remains surface-level, often prioritising entertainment over nuanced analysis. For fashion students, this film serves as a starting point to explore real-world issues like labour exploitation and inclusivity, urging further investigation into how the industry can balance creativity with ethical responsibility. Ultimately, while insightful, the film reflects only a fragment of fashion’s complex landscape, inviting a deeper academic inquiry into its evolving role in society.
References
- Barnard, M. (2002) Fashion as Communication. Routledge.
- Entwistle, J. (2009) The Aesthetic Economy of Fashion: Markets and Value in Clothing and Modelling. Berg.
- Kawamura, Y. (2018) Fashion-ology: An Introduction to Fashion Studies. Bloomsbury Publishing.
