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If You Think Miranda Priestly Is 'Devil Wear Prada's Villain, You've Been Watching Wrong

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If You Think Miranda Priestly Is 'Devil Wear Prada's Villain, You've Been Watching Wrong

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In the article it mentions the idea that she is a "protagonist disguised as a villain". Which is intriguing to me and I think it will be interesting to use for the analysis.

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Editor's note: This month, Zimbio writers and editors are digging deep and exploring the unpopular opinions we feel most passionately about. We've explored why not everything Netflix touches turns to gold, and Steve Harrington's ideal fate, Ferris Bueller's questionable antics, Danny Tanner poor parenting, and now Miranda Priestly.
"Alright everyone, gird your loins!" Stanley Tucci's Nigel yells to a room of disgruntled employees at the beginning of The Devil Wears Prada.

Like clockwork, everyone panics and scrambles to get things in order: an assistant prepares a glass of room-temperature seltzer water, implying that whoever it's meant for is very particular about her beverages; workers remove any trace of clutter from meeting rooms; someone hurriedly slathers on another coat of lipstick; an employee speedily tosses the snack she's munching on into the trash bin, and another removes her comfy sandals and slips her feet into a set of beautiful (yet painful) Dolce and Gabbana pumps.

Moments later, the madness is explained and we find out why everyone is running around like headless chickens. A well-dressed woman clutching a book and a limited-edition Prada bag steps daintily out of a car and glides toward a building like it's her castle. She walks through a crowd as if she's Moses parting the Red Sea, with every person in sight almost leaping out of her trajectory. Security lets her in without identification, and when she enters the elevator, a woman evacuates the cab.

When the camera finally pans to this legend's face, she's wearing a stern look - the expression of someone out for blood. This woman is Miranda Priestly, and we're meant to believe she is the devil who wears Prada. Except for the the very important fact that she really isn't this movie's villain - she's a protagonist disguised as a villain. We're just conditioned to see women like Miranda as monsters. In other words, if you think Miranda is the antagonist of this iconic film, you've been watching it wrong.

The acclaimed film The Devil Wears Prada tells the story of Andy Sachs ( Anne Hathaway), a recent college graduate who dreams of becoming a journalist. When she has trouble nabbing a newsroom job in bustling New York City, she finds herself embroiled in the fashion industry, which she has no interest in. Miraculously, she's hired by the inimitable Miranda Priestly ( Meryl Streep), a living legend whose reputation precedes her.

Priestly is known as a cold, heartless yet talented thought leader who holds the fashion industry in the palm of her hand. In one of the film's most revealing scenes, a designer prepares an exclusive showcase for her ahead of fashion week. With just the purse of her lips, Priestly expresses disapproval in his designs, leaving the artist with no choice but to scrap his entire collection. That's how powerful she is. Only Miranda's opinion matters.

It's easy to paint Miranda as a villain because she's not nice, and in our culture, "nice" women are comfortable. "Nice" doesn't affect your life (or anything, for that matter) too much, and it certainly doesn't inspire you to leave your elevator when it struts in (there's a reason men ask women to "smile," however ill-advised). Miranda's distinct lack of "nice" is threatening - a fact that's especially evident in the way she treats Andy. She has little interest in the girl's personal life - a common workplace nicety - and expects Andy to be at her beck and call every second of the day. Miranda doesn't bother to learn Andy's name until a few months into her job. When Andy fails to book her a flight to Miami during a typhoon, she tests her by threatening to fire her unless she secures a copy of an unpublished Harry Potter manuscript. She's a tough cookie.

When you focus on all these hyper-efficient, not-so-nice habits, it's easy to consider Miranda a ruthless editor and a horror to work with, but there's a simple explanation for her behavior: She's doing her job. The hard truth is that Miranda wouldn't be such a prominent figure in the cutthroat fashion industry if her tactics - managerial and otherwise - didn't work. Miranda Priestly is not a bitch, nor is she the villain in Andy's life. If anything, the villains of the story are Andy's boyfriend, Nate - who doesn't show an ounce of support while she struggles to keep up in an industry designed to bring her down - and her asshole friends, who have no problem receiving fancy gifts from her yet mock her the minute she gets ambitious.

Miranda is a boss who takes no shit and doesn't apologize, but that doesn't make her the bad guy.

In one UK survey, the majority of 3000 respondents said they prefer male over female bosses because women are "hormonal," unreasonable, and easily stressed when juggling their home and work lives. So let's hit the nail on the head: If Miranda's character was male, viewers would likely be more accepting of her attitude. In the workplace, female leaders are expected to be sympathetic, as if it's one gender's unique responsibility to consider everyone else's personal well-being. Men, on the other hand, are perceived as power players. They're praised for being "straight shooters" and no one bats an eyelash when they're short, insensitive, or harsh. Miranda is a career-focused woman with an appetite for excellence, and the way she exerts authority is similar to the way many men behave in traditional corporate settings. It's unfair to call her a bitch because she leaned in before leaning in was a thing.

In DWP, Andy is presented as the protagonist, but at second glance, she does nothing but whine. She deigns to work at one of the biggest magazines in the world because she's not interested in the work, so she often falls short of Miranda's expectations.

At one point, Miranda calls Andy out on her clear lack of appreciation for a position others would kill for.

"I always hire the same girl. Stylish. Slender, of course. Worships the magazine. But so often they turn out to be ... disappointing. And stupid. So you, with that impressive resume and the big speech about your so-called work ethic, I thought you would be different," she states. "I said to myself, go ahead, take a chance, hire the smart, fat girl. I had hope. My God. I live on it. Anyway, you ended up disappointing me more than them. More than any of the other silly girls."

In truth, the reason she's extra hard on Andy is that she wants her to be the best. She wants her to appreciate the chance she's been given and respect the influence fashion has on the world.

Is it so bad to expect your employees to cherish their jobs? No. Not really. As a matter of fact, that's a quality you find in a protagonist - someone who holds themselves to a higher standard, strives for more, and pushes others to be their best selves.

In 2016, 10 years after the film hit theaters, Streep revealed that part of the reason she accepted the role was that it allowed her to portray an unconventional boss. She said people like Vogue editor-in-chief Anna Wintour (the character Miranda is partially based on) are (perhaps unrealistically) expected to come across as "nice" and sweet, and it's always interested her.

"The book was written about Anna Wintour from the point of view of someone who worked for her. It's a version of her, not necessarily accurate or whatever, a piece of fun fiction, 'chick lit.'" she told IndieWire. "Embedded in it... is what the perceived deficits are of women in a leadership position. Chief among them is to expect women to be endlessly empathetic, a sense of employees' discomfiture that she doesn't give a shit, all the things that they would not ask of a male boss."

She continued: "I've thought a lot about these issues of empathy, what you have to do if you're a pediatric brain surgeon. You put aside the fact of the enormity of the task you are about to embark on, lifting the edge up of the child's skull. With certain professions, you put aside your feeling gene, your tendency to feel the other's pain, in order to be efficient and get the day's work done. A certain amount of work has to be achieved during the day, you want a direct order and follow through on that order. There's that expectation that hurts women more in leadership than it does men. I've seen that in so many different places."

Don't be frightened of tough women. They may not fit our stereotypical model of the ideal female leader, but that doesn't mean they should be branded as "villains."

That's all.

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How Miranda Priestly Is The Most Villainized Protagonist Of All Time

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Editor's note: This month, Zimbio writers and editors are digging deep and exploring the unpopular opinions we feel most passionately about. We've explored why not everything Netflix touches turns to gold, and Steve Harrington's ideal fate, Ferris Bueller's questionable antics, Danny Tanner poor ...

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Everything Right and Wrong with The Devil Wears Prada

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Everything Right and Wrong with The Devil Wears Prada

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This is all about comparing what is shown in the film and the real life fashion industry.

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Everything Right and Wrong with the Devil Wears Prada

The role of an assistant has been portrayed time and time again in pop culture. Recently, we see the role being depicted in Suits, Secretary, Mad Men, Veep, and our personal favorite, The Devil Wears Prada, and many more. In many films and dramas, assistants have been portrayed as pretty little helpers that answer phones and grab the office coffee. Hollywood writers do no favors in prolonging these misconceptions. For several decades, the role of assistants or "secretaries" on screen didn't alter much.

All of this changed with the release of The Devil Wears Prada in 2006. The film was a blockbuster success with millions of women and men rushing to the box office for a glimpse. Huge stars such as Meryl Streep, Anne Hathaway, and the lovely Emily Blunt captivated audiences across the world. Unfortunately, anyone looking for a realistic depiction of a career as an EA was left high and dry.

What was fact and fiction about the film? We dive into the differences between Hollywood and reality.

False: High-level Un-in-depth Interview

At the start of the film, the protagonist Andrea (Anne Hathaway) is a young graduate looking for her first job in the Big Apple. Andrea decides to interview for an assistant position to the editor of Runway magazine after struggling to find work in her major, Journalism. After the shortest interview known to man, Miranda (Meryl Streep) expresses her interest in the gritty newcomer and decides to offer her the job. Not only does this scene imply that assistants are not worthy of a proper interview, but it suggests their position is primarily occupied by individuals who failed to find work in their field.

True: First and Second Assistants

Andrea quickly realizes her new job isn't anything to take lightly. Her status at the company hangs by a thread. Due to the support structure at Runway, Andrea isn't Miranda's only assistant. She fundamentally does all the "dirty" work for Miranda's first assistant, Emily. While Emily is as strained as Andrea, her concentration is on the attending the glamorous Fashion Week in Paris at the end of the year. In many celebrity positions, and some executive and personal positions, there will be a hierarchy of multiple assistants, such as depicted in the film.

True and False: In a Relationship with Your Job

As time rolls on, Andrea's career continues to interrupt her relationships with family, friends, and her longtime boyfriend. At one point, Andrea and her boyfriend break up, to which her boyfriend utters, "The person's calls you take all the time? That's the relationship you're in." While a small minority of top-level celebrity assistants are able to relate, many EAs, PAs and administrative professionals would not. Most assistants aren't making emergency fashion runs at 3 am, although, certainly some have.

False: You Need to Embody Your Industry

Once Andrea becomes acclimated to the wild environment of an assistant, she begins taking the form of the fashion industry. She trades her frumpy sweaters for Dolce & Gabbana dresses and learns to embrace what true beauty represents in the fashion industry. While it's smart to know your industry, it's not necessary to embody it to be successful at your job.

True: Assistant's Play a Pivotal Role

While one of the stylists, Nigel, explains to Andrea the importance of the executive designers' work, he says, "Don't you know that you are working at the place that published some of the greatest artists of the century? Halston, Lagerfeld, de la Renta. And what they did, what they created was greater than art" It's true that top-level executives and principals need a right-hand assistant to help them free up time so that they can take on the much larger tasks of shaping the world in which we live. That is why an assistant's job is so pivotal, and the movie did a sufficient job of portraying that need.

False: Affairs to Get Ahead

Andrea's mental struggle comes to light when she's invited to assist Miranda during Fashion Week in Paris. After enduring multiple instances of harassment, Andrea sleeps with a high-level fashionista with connections to her real passion, Journalism. Out of all the over exaggerations and misrepresentations, Andrea's Paris affair is by far the most damaging stereotype to be displayed in the film. Not only does the picture suggest it's necessary to use your sexuality to get ahead, but it furthers the narrative that women are powerless over their superior. As we can see with the Me Too movement, this behavior can be illegal and doesn't help any stakeholder's career.

True: Adjusting to Uncertainty

One of the major dilemmas Andrea faces throughout her time at Runway is adjusting to a fast paced and unpredictable environment. From changing schedules to last-minute wardrobe modifications, assistants are the final line of defense for any executive. Andrea quickly learns that her job depends on her ability to stretch and flex her connections to achieve the desired result. While some assistants might never find themselves pulling a crucial last-minute favor for their principal, many celebrity assistants make a living off it. Knowing the right people at the right time is a significant competitive advantage.

True and False: Know the Family

About halfway through Andrea's wild ride at Runway, Miranda requests her prized binder of designs to be delivered to her home. Andrea quickly finds herself tiptoeing passed curious children and the unsuspecting husband to Miranda. Her presence is not welcomed in the house. For the majority of assistants, interaction with their principal's family is relatively minimal. Home visits don't usually extend further than a quick stop to grab a package or relay a message. However, some celebrity or personal assistants are heavily involved in family affairs. As long as the assistants and their principal are on the same page about their needs and working environment, there shouldn't be any major surprises.

False: Leaving on a Dime

Finally, to conclude the movie, after being unexpectedly promoted, Andrea sees Miranda's true colors up close. On impulse, she decides to leave her assistant career at Runway, by recklessly walking out on Miranda during the largest event of the year. A positive reference is critical for any career, but especially for high-level celebrity assistants.

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Where they got it Right

One of the most accurate themes illustrated in the film was the importance of knowing your principal. Andrea's ability to learn and adapt to Miranda's preferences is a necessary skill of the profession. At multiple points in their career, the majority of assistants will face some adversity in achieving their optimal routine. Assistants that are stubborn in their habits will naturally struggle to fit the mold. Because of the accelerated pace of the fashion industry, the ability to make high-pressure decisions is showcased throughout the film.

For clarity, individuals aren't heading to the theater to see accurate depictions of their careers. Creative storylines and dominant performances will always outweigh the urge for realistic depictions. However, potential candidates shouldn't be biased against entering a fulfilling and prosperous career by Hollywood stereotypes. EAs, PAs, and administrative professionals are some of the most motivated individuals in the modern workplace.

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Everything Right And Wrong with The Devil Wears Prada

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The role of an assistant has been portrayed time and time again in pop culture. Recently, we see the role being depicted in Suits, Secretary, Mad Men, Veep, and our personal favorite, The Devil Wears Prada, and many more. In many films and dramas, assistants have been portrayed as pretty little helpers that answer phones and grab the office coffee.

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Fashion Insiders Confirm Almost Every Stereotype in 'The Devil Wears Prada'

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Fashion Insiders Confirm Almost Every Stereotype in 'The Devil Wears Prada'

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Talks about the stereotypes the are in the film that and in the fashion industry.

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I watched The Devil Wears Prada in theaters the week it came out. It was 2006, the summer before I entered ninth grade. I had no aspirations to work in fashion at the time, but I did harbor a deep affection for fashion magazines. I religiously read the print issues of Elle, Glamour, Harper's Bazaar, Marie Claire and Vogue every month. I had never given much thought to how they were put together, however, and I definitely didn't know who Anna Wintour was. I just loved the stories and the clothes.

The Devil Wears Prada movie is like a fashion magazine in that it showcases all the sumptuous goods and wearable fantasies; it does them one better, though, in that it reveals how the sausage is made - Hollywood-style. There are makeover montages, catty coworkers, evil bosses, power plays, demeaning labor, unparalleled perks, relationship drama and existential panic. But how much of this stuff is a true reflection of the fashion industry, and how much of it is exaggerated or just plain false?

As an editor at Man Repeller, I do have *some* insider knowledge of the fashion industry, but my grasp of the OG inner-workings at big publishing houses like Condé Nast and Hearst is pretty limited. Eager to sate my curiosity, I tapped four industry veterans to weigh in on the accuracy of The Devil Wears Prada. Read their (VERY) honest answers below. *Names have been changed for obvious reasons.

TRUE or FALSE: Everyone dresses impeccably, which is why Andy Sachs sticks out like a sore thumb her first day on the job. (Miranda gives her clompy shoes a withering once-over and Emily asks if she's going to "a hideous skirt convention.")

Sarah: False. Vogue is the exception, though, from what I've heard. At Vogue you're not allowed to wear stockings or tights in the winter - you have to wear high heels to fashion week even if it's snowing, and you have to wear your hair a certain way. But at the titles I worked for, employees were encouraged to have a bit more self-expression. People wore sneakers and did the high-low thing - mixing in H&M and Zara with high-end designers like Chanel.

Zach: False. Super false. There are people who dress up like that, but for the most part it's a casual work environment. People really only go the extra mile during fashion week, because they want to get their picture taken, and they want to look good when they're seeing everyone else. In my offices, there were always a lot of jeans. At the end of the day, you've gotta work, and you don't want to be in binding clothes the whole time. I think you just need to look presentable. My general rule of thumb is that if someone sees you on the street, they should know you work in fashion, but that doesn't mean you need to be in expensive clothes or heels all the time. There are plenty of girls who change their shoes in the lobby of Condé Nast every day.

Annie: False. The big editors actually almost always wear black and white - simple slacks, jeans, button ups and turtlenecks - because they have so many fireworks going off in their brains, it's more efficient if they can keep their daily wardrobe simple and save their creativity for the racks. Individual editors are celebrated for their "uniforms" because they are all very distinctive. If you don't have a point of view, you don't have style.

Claire: False. While I personally feel better and more productive when I look my best, and I think it's nice to kick it up a notch in the fashion department and hold the office to a certain standard, it's not required too look super fancy. I am always really inspired by the interns and assistants who turn out super creative looks on a very limited budget.

TRUE or FALSE: No one eats. Or at least, in the words of Nigel, "Not since 2 became the new 4 and 0 became the new 2."

Sarah: Ummmmm, I would say true and false. When I worked in fashion, people were definitely conscious about how they looked and what they ate, but like, if there were cupcakes in the office for something, most people would have a cupcake. But then, to be honest, I don't know if they'd eat anything else for the rest of the day. There's a lot of pressure to be able to fit into a sample size - because you get a lot of free clothes, you get stuff from the closet and you have to be able to fit into it. So yes, everyone wants to be skinny, and that's a definite thing. I remember at Condé, I was riding in the elevator and someone got in and they had eggs and bacon on a muffin or bagel or something, and it was like wooooahhh, you know? Like, what happened to you last night? Where's your chia bowl? People would also do fasts before fashion week - not juice cleanses like people do now - actual fasts. They legitimately wouldn't eat.

Zach: I've never experienced that. To me, that always seemed like a myth. It's a very common joke, especially among PR people to be like, "We didn't know what food to get for this event because it's for fashion people who may not eat!" And I'm like, in my experience, fashion people can definitely put food away. I worked at a men's magazine, so there was even less of a stigma around that. I do remember once though, there was a tweet on that Condé Nast elevator account about someone getting shamed for ordering a big omelette in the cafeteria. But overall, I think a lot of people in the industry hate the "fashion people don't eat" stereotype. I personally always ate a ton of food.

Annie: False. If anything, you almost forget to eat because there's so much going on. You have to set an alarm to remember to get food or have someone else run to get it for you. You have to lock the door of your office and ignore your ringing telephone just to eat for five uninterrupted minutes. I would get avocado tuna melts and devour them, sometimes as late as 4:30, because I just had way too much going on earlier in the day. I wasn't the only one who ate big sandwiches or burgers, though. I remember everyone getting excited about birthdays and going-away parties because it meant we could order mountains of pizza or Carvel ice cream cakes. Everyone dug in. I think when you're working in fashion, you have so much adrenaline running through you at all times that it keeps your metabolism high, so you have to eat. Otherwise you can't function. That being said, no one would bat an eye if someone was on a weird new diet, or claimed a gluten allergy, so yeah - a borderline neurotic diet isn't going to raise any red flags, and it would probably make good story pitch down the road.

Claire: False. It's more a matter of having TIME to eat! But we are always sharing snacks and candy to keep us going. I don't like it when someone brings in something smelly to eat, but I think that's more of a universal office problem as opposed to a fashion-specific one.

TRUE or FALSE: A nice person is an honest-to-goodness unicorn. The majority of people are vapid, narcissistic jerks with self-serving personal agendas.

Sarah: False. People stereotype the fashion industry as an incredibly bitchy, competitive, unhealthy world. And there are aspects of truth to that, but I have to say, my closest friends are all from that world. I met some of the best people, my best friends, because we all lived through it together. We were all young girls working these pretty stressful jobs, creating great content, and learning a lot, too. I think most people in the industry are good people, and there are a few bad eggs. But a few bad eggs can ruin everything, especially if they're the ones in positions of power.

Zach: Um, no. That's false. There are mean people, but I would say the industry is still dominated by nice people. Some people feel like they should be mean when they first start in the industry, or should be entitled, but you learn pretty quickly that that's not going to help you out. The world of fashion is so small, and we're all so dependent on each other. If you're a dick to someone, it's going to come back to bite you when you need something from them three years later (which you will). The "being mean" thing will never get you far, and it's such a bad look professionally. Even Anna Wintour - she's revered for her coldness, but she's not a mean person. Maybe you can get away with being cold once you get to Anna's level, but you've gotta be really nice to get to Anna's level. Don't be a dick if you can't back it up. If you're a dick and you can't do your job, you're totally screwed.

Annie: False. Maybe this was just my experience, but I only met one genuinely mean person at Vogue, and they were edged out. Truly mean people don't survive long in fashion, because their ego gets in the way. Every day feels like an NBA playoff game: it's intense, there are egos, there are tempers, but everyone has to work together to accomplish the overarching goal of getting the ball into the hoop, metaphorically speaking. Ultimately, this kind of atmosphere can really bring people together. You learn to forgive any short tempers quickly and move on. If you're keen on holding grudges, fashion publishing isn't the career path for you. People who create drama always end up having to leave. For every negative incident, I saw 10 positive ones - a director defending an assistant who's taking heat for something, an editor fighting to keep a lower-level writer's byline on the page, an assistant editor going above and beyond her job description to drive across state lines and make a pivotal cover shoot happen, ongoing mentorship of interns, etc. It's an intense, fast-paced environment centered on excellence. It can bring out the worst in people, but it mostly brings out the best.

Claire: False. There are definitely a lot of mean people, but you can avoid them for the most part. I think it's always easier to be nice than it is to go out of your way to be rude and cut people down in a business that is already stressful enough to begin with.

TRUE or FALSE: The whole office absolutely freaks out when an important boss/editor-in-chief is about to arrive (papers shoved into desks, flowers plopped into vases, ugly shoes swapped out for Jimmy Choos...)

Sarah: Yes, very very very true. It's kind of like a dictatorship. That one person's opinion is all that matters. If you play the game and agree with everything they say, you'll have a pretty easy ride. It's all about pleasing the editor-in-chief. I don't think that's exaggerated in The Devil Wears Prada. I remember when our EIC would walk around and do a lap, and you knew she was coming not because you could see her, but because of how everyone acted. Everyone would be like, "Run, run! Hide that!"

Zach: That can be true. It varies from person to person. I've never been intimidated by my EICs. They were always very kind and had a genuine concern for everyone at the magazine. Anna Wintour was never my direct boss when I was at Condé, but she was extremely intimidating. One time, I was in the Condé elevator, and I used to go straight to the gym from work, so I was wearing a ratty old tank top and shorts - they weren't short shorts but they were definitely short. Anna walked into the elevator and gave me a look. I think she wrote me off forever in that single moment, but that's fine.

Annie: Both. It varies. I personally had only neutral or positive experiences. Anna Wintour has a preternatural instinct for picking up on insecurity, so if you're insecure, you should probably do something else with your life. That was the situation with the author of The Devil Wears Prada, to be honest. But if you're confident in yourself and what you're bringing to the table, you'll get along famously with her (although you might not know what she thinks of you at first because she's very reserved). The people who've lasted at Vogue are confident perfectionists with a thick skin. Yes, she's intimidating, and yeah, that can be exhausting if you're easily ruffled - but if you're not, you'll start to learn and understand her motivations and idiosyncrasies, and how she's a master at moving the chess pieces of her world. You'll start to appreciate and respect it. Anna has a high bar. Her expectations are precise, but they're also consistent. I find that kind of personality much easier to work with than a CEO or boss who's mired in insecurity, whose actions are unpredictable, who doesn't give clear objectives and who can't manage a team. Anna manages a print magazine pretty damn well.

Claire: True. I think it's good to have a boss who's intimidating, though. It keeps everyone on their toes at all times. The days of working in print won't last forever, so you can never feel too comfortable. In most cases, the person in power achieved that authority because he or she has been around for quite some time and has high standards they always expect to be met. If you're "freaking out," it usually means you're insecure or unprepared. If you're confident and organized (i.e. Andy when she prepares the Harry Potter manuscripts in The Devil Wears Prada), you won't need to feel nervous.

TRUE or FALSE: Being an upper-level assistant is incredibly demanding. Responsibilities can include: manning the desk at all times without a bathroom break, fetching coffee, fielding personal requests (like retrieving surfboards for your boss's children), responding to calls over the weekend and memorizing the guest list at an event.

Sarah: True. I've never been in that role, but I have friends that have. One of my good friends was the editorial assistant to a high-level publisher. She was basically at the office 24 hours a day, to be honest. After years of being completely on-call, she ended up losing her job because he was flying somewhere, and he wanted to take two dogs with him, but he didn't have the necessary paperwork from the vet saying the dogs had been immunized and this and that, so he called my friend at like 6 p.m. on a Sunday and said, "Where is the paperwork for the dogs?" And she was like, "I didn't even know you were bringing the dogs," and he was like, "You should have asked, you should have been more prepared, go back to the office now and hand in your key. You're fired." And I think he was going on a personal trip. I don't even think it was a work trip.

Zach: Totally true. Absolutely true. I think that's just sort of what the job is. That scene in The Devil Wears Prada where Andy is at dinner with her dad and Miranda is trying to get out of Miami in the middle of a hurricane - that might be an overstatement, but there is definitely work to be done on the weekend. Being the assistant to an EIC is an extremely demanding position. You're also responsible for maintaining that person's calendar, so you've got to be on your shit 100% of the time. I've worked weekends before, and when I came in and saw other people at the office, a lot of times it was various editors' assistants. If you're an assistant to the fashion team, you're constantly calling in samples, sending things back and forth and getting things done. You're also dealing with celebrities, which is a whole added layer of stress. My experience in the industry is that everyone understands how hard the assistants work, and the assistants understand that they're paying their dues, which is a terrible thing about the fashion industry. You start paying your dues as an unpaid intern, and then you continue paying them as a low-salaried assistant.

Annie: True. Working any assistant role is really demanding. But then again, even if you're a director, you're on call 24/7 for Anna Wintour.

Claire: True. There is SO much on your plate when you're an assistant. You're keeping the ball rolling on so many things, doing a lot of work that no one else wants to do and also making sure your boss's life is as easy as possible - even if that means yours is not. But you won't be an assistant forever, so the more amazing and on top of everything you are, the sooner you'll be promoted.

TRUE or FALSE: The fashion closet at a magazine is a palatial space with multiple rooms where any employee can pick and choose stuff to borrow.

Sarah: I wouldn't say any employee. Probably not assistants. It's a hierarchy, again. If a beauty director comes in and says, "I've got an event tonight, can I borrow a pair of shoes?," the people running the fashion closet would definitely say yes. But I don't think an assistant could just walk in and ask to borrow something.

Zach: Oh no, that's a big false. The closet in The Devil Wears Prada is completely ridiculous. If you take stuff from a fashion closet without asking, you get fired. As you climb the ranks, you can borrow something for an event, but in the movie Andy just walks away with all those clothes and suddenly just...owns them. In real life, that's how you get straight-up fired.

Annie: True and false. At Vogue, it is a palatial space and one to be respected. You can't take anything from "working racks" - racks of clothes that are in the process of a very nuanced editing process based on the story/subject, aesthetic and advertising objectives. If you were a lawyer, that would be the equivalent of someone "borrowing"and rummaging through your case files- it's insanely disrespectful, and you'd probably get fired. There are definitely situations where people can borrow stuff, but you always have to get permission. Taking whatever you want, whenever you want, would be frowned upon and probably lead to a dismissal. There's a tacit understanding among editors and PR houses that we respect the clothes - and if you do borrow from the closet and wear a dress to an event, you call the PR rep to get the green light first. Having a good relationship with the fashion closet manager and the market editors increases your chances of being able to borrow stuff, but everything still has to be done above-board.

Claire: False. It's a messy and cramped room that is nearly impossible to keep organized - and don't you dare borrow an unauthorized sample and embarrass the magazine! You will be caught, especially these days with social media. Gently trying on stuff is totally okay though - we need to have a LITTLE fun.

TRUE or FALSE: An important editor's opinion can prompt a designer to completely change his or her collection.

Sarah: True. I think that's part of the reason market appointments exist - so designers can change things depending on the editors' opinions. I've definitely had appointments where designers are like, "The editors love this, the editors love that, we don't know if we'll make this but we might change this because editors didn't like it, etc." They can have a real impact.

Zach: I would say there is some truth to that. In the documentary The September Issue, the Vogue editors talked to Miuccia Prada, and she ended up changing the material on one of her products. It's usually very minor things. So yes, there's a lot of influence that the high-power editors can have, but very few designers are willing to compromise their original designs.

Annie: True, but it depends on the editor and how much time is left before the show.

Claire: True. Though I'm personally not powerful enough yet to have this effect, it happens all the time when stylists come in to work on collections right before the show.

TRUE or FALSE: The industry perks are really really good. Free beauty products! Designer handbags! Trips to Paris!

Sarah: True, but not as good as they used to be. I think that when the economy got bad and magazines started suffering, they all had to watch themselves a little big more. It isn't as good as it was and it'll probably never go back to that. It was ridiculously extravagant. I mean, as an assistant, I would be having my meals at Koi in Bryant Park between appointments. I was going out to the best restaurants. I probably survived on champagne and hors d'oeuvres four nights a week. And I went on crazy trips. As an associate editor, I went on a press trip for an eyewear company, and they put us on a private plane to Italy. There was a chef on the plane, there was Prosecco, tons of wine. We stayed at a really nice hotel in Rome and they took us to amazing restaurants. We spent only a few hours at the factory where the eyewear was made, and we got to choose pairs that we wanted for free - all high-end designers. And then we went to more nice restaurants, got more freebies and got back on the private plane to go home. So yeah, there was a lot of that - London, Paris, Rio. I got so much free stuff that I was actually packing up boxes and just shipping it all out to my sisters - boxes full of beauty products, full of clothes, full of accessories and handbags and things. I didn't even have to buy even dental floss for a year, I just got everything for free. I remember I had so many free tampons and shampoo that even after I left my publishing job, it was still over a year before I had to start buying toiletries again. I also probably have 300 pairs of jeans that I got for free. We would get $2,000 handbags, really expensive jewelry, yeah, all of that.

Zach: Yeah! That's true. I left my publishing job about three years ago, and I'm still working my way through the grooming products that were sent to me there. I have some clothes that I got for free that are absolutely beautiful. There are tons of press trips, if your company allows you to take them, nice dinners...the perks that come from a good editor job are really something. There used to be a rumor, a pretty widely-circulated one, that pre-2008, like before the recession, Condé Nast would actually buy the editors-in-chief vacation homes as part of their contracts. I don't know if that's true. It seems a little too ridiculous. At these magazines though, before the recession, there was wild spending. The perks were much better then, but supposedly Anna Wintour still gets her hair done every morning, and Condé Nast pays for it.

Annie: True and false. Even though you might get to work the fashion show circuit in Europe and have access to endless free eye cream, you're not getting paid much. People who work at Vogue or any fashion magazine forgo the bonus, vacation perks and equity options typical of less glamorous, corporate jobs. If you work in fashion, you do get a lot of free stuff - so much that you're always having to clean out your closet. There are trips abroad, and the parties and shows are non-stop, but it's the opposite of a champagne-doused vacation. After 10 shows, work dinners and constant market appointments, you have to answer all your emails and calls from the office and file stories at 2 a.m. - all while struggling through jet lag. By the end of Paris Fashion Week, all the editors are irritable and eager to get home to their families.

Claire: True. It balances out the low salaries. I haven't bought makeup in years because of all the free beauty products.

TRUE or FALSE: In order to succeed in fashion, your personal life needs to take a hit. Nigel says to Andy, "Let me know when your whole life goes up in smoke. That means it's time for a promotion." This sentiment certainly holds up in the movie - Andy's romantic relationship and friendships reflect the strain of her demanding job and ultimately start to disintegrate, Miranda's husband asks for a divorce, etc. But what about in real life?

Sarah: True. I mean, my whole circle of friends became whoever I worked with at the time, and it kind of had to be that way, because you'd work all day with them, then you'd go to market appointment with them, then you'd go out to dinner with them, then you'd hit an event with them and then you'd do it all again the next day. One of the reasons I left the industry was because I started having kids and the job just wasn't flexible enough. It's really bizarre, because fashion is such a female-heavy industry, but it's not that accommodating for moms. Sometimes you have to leave at 4 o'clock to pick up your kid, and people just don't wanna hear it. I think there's a reason why so many editors or influencers are married to photographers, because they're the people they work with most. Working in fashion isn't just your job, it's your life, and it's your social life as well. You have to consciously decide to step away from that in order for the other parts of your life to work. That's why I decided to change career paths. I wanted work-life balance, I wanted a family, I wanted to put my kids to bed every night, I didn't want to work weekends. The experience of working in fashion was also losing its gloss for me. When I first started, I remember one of my bosses said, "Oh my god, I'm so glad you've started so now I can stop going to market appointments and events!" And I remember thinking, "Who the hell would ever want to stop going to market appointments and events?! That's crazy!" But then the same thing happened to me.

Zach: False. It can be a very demanding job, and I think your social life might be impacted a little bit, but I always found time to maintain one, and everyone else I knew always found the time. You need a personal life when you're working in the fashion industry - if fashion is your only life, you're going to go absolutely crazy. The Devil Wears Prada perpetuates this misconception because Andy's boyfriend is a huge asshole. He basically doesn't let her have a career because he wants to make her a grilled cheese. I mean, she came home from the MET Ball with a cupcake! Cut her a fucking break.

Annie: True and false. You're encouraged to have a personal life after you're promoted from assistant, but it's difficult to keep your work life separate. Ironically, as an employee of Vogue, you don't have enough time to enjoy the lifestyle that is portrayed in Vogue 's pages, even when you ascend to the director level. But you're still expected to lead a life outside work and have a personal brand that reflects well on the magazine's brand.

Claire: True. I love doing my "actual" job (editing, dreaming up ideas and concepts, etc), but my days are consumed with answering emails/calls, putting out office fires and making sure product arrives, and my evenings are occupied with appeasing the demands of press reps who expect my attendance at events, dinners and parties after work hours. That means the WEEKEND is when I finally get around to the actual editing and researching, thinking, etc. You need to set limits though, even if you love what you do. Luckily, most of my friends work in the business, so I get to see them often, but you have to purposefully carve out time for your significant other and family. It's fun, but it's definitely my life.

TRUE or FALSE: Despite all the drama, there are still aspects of the job that really matter to people.

Sarah: True. Yeah. When I was younger, I didn't even know working at a magazine could be a job. I thought if you were smart, you had to become a doctor, or a lawyer, or go to business school. I went to business school, and I remember thinking "My god, I'm good at this, but I don't want to do this my whole life. It's so boring!" And then I moved to New York and I fell into working at a fashion magazine, and I like, wait a minute, you can get paid to do this? This is an actual job? When I was growing up, I had always had stacks of magazines, I ripped pages out, I had file cabinets at home...when I realized that that could be my job, it was life changing.

Zach: That's totally true, 100% true. I love that The Devil Wears Prada shows how fashion seems like an extremely exclusive industry from the outside, but when you actually look at the people who make up the industry, it's a very inclusive place, or it can be. There is still a huge problem in terms of ethnic diversity that isn't addressed in the movie, but Nigel does a really good job of explaining how the fashion industry can be a home for a lot of people who didn't have a home, or who felt out of place growing up. For a lot of people I know who work in fashion, the fashion industry has become their second family, or in some cases, their first family. There's an emotional connection to the work people are doing and the passion behind it, and it's a huge part of the global economy. Nigel gives a great speech where he talks about fashion being a higher form of art - he says it's better than art because it's stuff that you live your life in, which always reminds me of Bill Cunningham's quote about fashion being the armor for everyday life. And that's why a lot of people do what they do.

Annie: True. For me, and I think for many who work at Vogue, it's about playing a part, however small, in a visual legacy devoted to documenting every cultural projection of the feminine since the magazine's first issue in 1892. Throughout the 20th Century, beauty and fashion were the most available mechanisms for women to assert their identities and independence. Fashion lets you say, "I AM ____," visually, in the here and now. Vogue's legacy has much to do with the significance of your first assertive swipe of red lipstick as it does with the evolution of women's rights. It has overseen our collective assertion of self in this country. It is polarizing because the story of what it means to be female, at this point in history, is still exceptionally polarizing and under constant scrutiny. But because of its steadfast position as a chronicler of feminine interpretation, Vogue will exist - even as the definition of beauty expands, as barriers between masculine and feminine principles disintegrate, as print dies. As long as there is a story about WOMEN to tell and interpret visually, and editors to tell it, Vogue will exist as a cultural constant.

Claire: True. I think people who get dramatic or mad in the office only do so because they care so much. No, we're not saving lives, but what we're doing is still important. If someone on your team drops the ball, it's justified to be frustrated or annoyed. We're all human and humans make mistakes, but there is a certain standard that should always be met. The second you stop caring, the quality of the work decreases and the people around or underneath you also become unmotivated, and then the whole machine falls apart. In short, the drama keeps everything thriving. What's fashion without drama???

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Fashion Industry Stereotypes from The Devil Wears Prada

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I watched The Devil Wears Prada in theaters the week it came out. It was 2006, the summer before I entered ninth grade. I had no aspirations to work in fashion at the time, but I did harbor a deep affection for fashion magazines.

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This article focus on the different expectations of that gender lends a hand to in the work force environment.

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"Okay, she's tough, but if Miranda were a man... no one would notice anything about her, except how great she is at her job (Sachs, The Devil Wears Prada, 2006)."

The quote above is from the movie The Devil Wears Prada. In short, the film is about a newly graduated journalist turned fashion magazine Editor's second Assistant. "Miranda Priestley of "Runway" magazine tears up the landscape as a demanding fashion editor. She is a terror to everyone around her, as quickly depicted in the opening scenes of the movie (Sacksteder, 2006)." Why is it that men and women are viewed so differently in the workforce? Andy Sachs says, if Miranda were man, no one would think anything poorly of her, and they'd admire her work ethic and effectiveness. But women are constantly scrutinized for their actions, how they deal with their peers and subordinates, and also their personality traits and commitment to advancement.

A major issue that continues to plague female employees is gender diversity between them and their male counterparts. Even in todays workforce woman are not becoming CEOs or filling managerial positions like their male counterparts. It has only been in the past couple of years that more women are being appointed CEO of major companies, and the number is not nearly close to the amount of male CEOs. According to Forbes magazine (Howard, 2012), there are now 20 female CEOs of Fortune 500 companies. Northouse (2013) and our lesson information explains why this issue of gender diversity is occurring and how it can be resolved, if it can ever be resolved. Woman have been fighting for equal right as men since the late 1800s, early 1900s, yet women still aren't treated equally as males.

Though there are several reasons why this phenomenon continues to occur and why women still have a long way to go, I will focus on gender differences and the thought that men and women are just different. Northouse explains the argument that women are underrepresented in elite leadership positions based on the fact that women and men have differing leadership styles and effectiveness. Hinting that male leadership styles are more effective than men, but this can be argued because women can also offer a differing style that works better than a man's style. Just because it's a woman's style doesn't mean that it isn't going to be effective. Another argument is that women aren't as committed to their employer and lack motivation to lead. This is because of the woman's role as a parent and domestic obligations continue to be laid on woman more so than men, and also with maternity leave and other gaps in employment. And the other major claim is that men simply possess the traits necessary for effective leadership. Northouse (2013) has explained the research that doesn't necessarily agree with that claim. Women possess traits like assertiveness, integrity, social skills, and intelligence as much as men do.

In order for woman to lead from the top without controversy or without people doubting her abilities solely on the fact that she's a woman, we need to reevaluate the way we view women and the traits they possess. A change needs to be made on how we think. This isn't just a cultural thing in America; this gender diversity issue is plaguing countries around the world. We know women are capable of leading from the top, take for example the many women leaders in Fortune 500 companies and also in politics. We just need to take away the stigma that woman aren't as effective as men or don't possess the "right" traits to be effective leaders.

References

Howard, C. (12, August 22). The new class of female ceos. Retrieved from http://www.forbes.com/sites/carolinehoward/2012/08/22/introducing-the-new-class-of-female-ceos/

Northouse, Peter. G. Leadership: Theory and Practice (6th edition). Thousand Oaks, California: Sage Publications.

Sacksteder, J. (2006). The plot summary for The Devil Wears Prada . Retrieved from http://www.imdb.com/title/tt0458352/plotsummary

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"Okay, she's tough, but if Miranda were a man... no one would notice anything about her, except how great she is at her job (Sachs, The Devil Wears Prada, 2006)." The quote above is from the movie The Devil Wears Prada. In short, the film is about a newly graduated journalist turned fashion magazine Editor's second Assistant.

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Gender Identities and the Patriarchy in "The Devil Wears Prada"

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Gender Identities and the Patriarchy in "The Devil Wears Prada"

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Talks about strong female that are represented in this film and industry that this film portrays.

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The Devil Wears Prada (2006) is renowned for its strong female roles and an artificial look into the fashion industry. The movie follows Andrea (Andy) Sachs on her struggle to survive one year as the co-assistant (the other assistant is named Emily) for Miranda Priestly, the "dragon" editor-in-chief of the fashion magazine . On the surface, the movie appears to demonstrate the power of the woman by casting two females as the main characters. However, as you delve deeper into the film's exploration of gender roles, stereotypes, and even the editing itself, it is clear that this movie reinforces the common idealization of the woman: one that states that women must be attractive and depend on men for a societally acceptable life. It is crucial the ideologies are addressed because this seemingly progressive comedy actually promotes conservative morals.

The audience's lack of industry knowledge allows this movie to culture our reaction to character roles and the work environment. On first impression, the movie depicts the fashion industry as being filled with women in successful positions. Nigel, the gay art director, is the only important man. The assistants are feminine, gossipy, obnoxious women who answer the phones and run errands for Miranda, the despotic editor-in-chief. During a scene with a designer, the film blatantly portrays Miranda as domineering the fashion industry. Miranda's position of power strongly appears appealing to feminists.

The movie subconsciously prepares us for the roles of the two lead characters, Andy Sachs and Miranda Priestly, through the naming and casting processes. "Andy" is short for Andrea which means brave. This bravery is reflected in her job interview and her accomplishment at work. Anne Hathaway is cast as Andy. Her most prominent film before 2006 was The Princess Diaries , a movie that chronicles Anne's transformation from a dorky, schoolish teen into an elegant princess. Andy echos this role. She begins the movie wearing lumpy poly-blend sweaters and rocking mane-like hair . However, her new job forces her to change her style and replace her dorky appearance with cleavage-revealing designer clothes, stilettos, makeup, and fancy hair in order to be successful .

Alternatively, "Miranda" means admirable, and the last name "Priestly" reminds the audience of the diligent work ethic of priests and the nature of religion. Miranda is an admirable boss who runs the religion that is fashion. The female assistants hang on her every word. Yet contradictorily, she is also the "devil" of the title. Her masculine autocracy is shown as negative from the beginning. Finally, Miranda is played by Meryl Streep who has a reputation for intimidating other actors because of her skill and strong personality. Streep also has a history of playing strong female roles in movies like Julie and Julia , A Cry In the Dark , , etc. As a result, she is an icon for lesbians and feminists‒the perfect actress for this because she already exudes feminism.

Julia Spiker, Ph.D. explored the underlying ideologies in this movie in her essay "Gender and Power in the Devil Wears Prada". She writes, "Positive role models-powerful women-are needed in the mass media" (18). Her essay argues that the movie allows the audience to decide which role model they will accept as their own: Andy or Miranda. Andy is the example of the patriarchal working woman while Miranda is the idol of the feminist (25). In 2004, Stacey K. Sowards and Valerie R. Renegar claimed that women are empowered by strong female role models and, more importantly, they take away messages about their own oppression by looking at their own lack of power (544). Using this idea, Spiker argues, "Movies like The Devil Wears Prada demonstrate to young women that there is more than one way to wield power as a female" (25). She claims Miranda's position as the strong role model shows these young women that the pursual of a power position is valid (i.e. some can and should become feminists who run organizations like men).

We are led to believe that the prevailing path for women‒the patriarchy‒is valid and admirable, while the path to feminism is actively dissuaded. This film puts forward ideas that women can pursue a career, but not if it means sacrificing their friends or the men in their lives, and women can be strong, but not masculine.

The Devil Wears Prada reinforces the ideology that women should not pursue career goals if the career takes away time from crucial figures of the patriarchy: family, friends, and partners. These institutions disapprove of Andy's newfound independence. Her dad gives her a check to pay for rent and then guilts her to find a "real" job in journalism. His criticism is leveraged by her financial dependence. Andy's friends also do not approve of her job. They get angry at her when her job makes her less available. The movie also conveys that a career oriented woman can't please her man. Andy's fights with her boyfriend, Nate, become more intense as she becomes successful at work. Nate won't talk to her when she misses his birthday to meet an important journalism figure. When Andy told Nigel her personal life was falling apart, he replied, "That's what happens when you start doing well at work". This sentiment is reflected by Miranda's husband pushing for a divorce and Andy asking Nate to take a break before she goes to Paris for work. However, she meets up with him in the scene after she quits her job, and their relationship rekindles. Every figure in Andy's social circle disapproves her career, which forces the audience to believe a non-patriarchal career isn't the right path for women. Miranda doesn't appear to have friends, and she is a repeat divorcee. Why would women ever aspire to a life of no friends, family relations, or spouse?" The movie leaves the audience with only one favorable option: follow the patriarchy not the feminist career plan.

The Devil Wears Prada encourages the oppression of femininity at the hands of masculinity. Carol Clover explains that gender identity is not restricted to a person's biological sex (1987). Masculinity and femininity are not not rigidly attached to the male and female sex, but are fluid. The Devil Wears Prada clearly puts forth the idea that those in power are masculine, and subordinates are feminine. A gay man and feminine women work for a dictatorial, masculine Miranda. Everyone in the industry admires Miranda's irreplaceably masculine skill at running the magazine. The audience is repeatedly exposed to a message that reiterates inferior, femanine positions at the magazine are highly liquid, and "a million girls" would kill to work there. Andy becomes more successful when she makes more masculine professional decisions. Rank at seems to suggest masculine leadership has a higher value than feminine dedication to fashion.

Hypermasculinity saves feminine Andy's job and secures her a new job. When Miranda asks of her an impossible task, our damsel-in-distress resorts to a male journalist named Christian to save her job. Afterwards, Christian repeatedly showers her with compliments while reminding her of the debt she owes him. In Paris, he forces her to kiss him until she finally consents, and has sex with him later in the film. At the end of the movie, Miranda's letter of recommendation gives Andy the job of her dreams as a journalist at a fictional newspaper. Ultimately, Andy owes her ultimate career success to masculine figures.

This movie suggests that it is acceptable for masculine characters to succeed in the workplace at the expense of feminine characters. When her job is on the line, Miranda maneuvers the politics of the industry to give her replacement a job that was supposed to be Nigel's promotion. He is visibly crushed but assumes the stereotypical feminine role and backs down. The masculine boss saves her career by taking her feminine subordinate's dream job away. Miranda states that it was no different from Andy's decision to take Emily's spot on the Paris trip when Andy confronts her about this Machiavellian move. Emily prepared for Paris for months, but when Andy's job was on the line she chose to take Emily's dream trip away. This movie shows cold, masculine behavior leading to success, thus promoting the idea that the masculine will continue to oppress the feminine.

The shot angles and editing techniques in the film subconsciously force the audience to identify with the predatory male gaze. Laura Mulvey argues mainstream film audiences are unconsciously constrained to objectify female characters because women are grossly underrepresented in Hollywood production (6-18). Women composed 18% of all writers, editors, cinematographers, producers, and directors in 2012 ("Film Facts" 1). Men control movies from start to finish. The director and editor for "The Devil Wear's Prada are both males, resulting in a number of revealing scenes. The opening scene shows women changing clothes, most notably Andy, in various states of undress . The camera fixates on breasts, stomachs, and pelvises. In the scene after Christian and Andy have sex, the camera lingers on Andy's naked, vulnerable figure under the sheets . The use of victimizing shots in this film make Andy, and women in general, a sex symbol. Hyper-feminization reinforces patriarchal ideologies. The film forces the audience, regardless of gender, to objectify women which detracts the messages of professionalism and feminism.

The Devil Wears Prada reinforces patriarchal ideals and the domination of the feminine gender role. The film wants the audience to acknowledge that women have to be attractive to be successful.

Andy remains attractive after she quits instead of returning to her . The movie shows the audience that masculinity equates to business success, through the career advancements of Miranda and Andy. However, Andy's decision to quit her job, after she realizes that she doesn't want to make masculine decisions (like dominate the feminine), informs females in the audience that women can only succeed in business if they keep their femininity. This film emphasizes that women should value friendships over their careers, they should allow men to support them, and finally‒with Andy's decision to work for a male boss at the newspaper‒that men are more reasonable and less devilish bosses. In the end, this film conveys that working women ought to give up feminism and bow their heads to the patriarchy.

Works Cited

Clover, Carol J.. "Her Body, Himself: Gender in the Slasher Film". Representations 20 (1987): 187-228.

"Film Facts." Women Make Movies . 2014. Web. 18 May 2016.

Mulvey, Laura. "Visual Pleasure and Narrative Cinema." Screen 16, no. 4 (1975): 6-18.

Sowards, Stacey K., and Valerie R. Renegar. "The Rhetorical Functions of Consciousness-Raising in Third Wave Feminism." Communication Studies 55.4 (2004): 535-52.

Spiker, Julia A., Ph.D. "Gender and Power in the Devil Wears Prada." International Journal of Business, Humanities and Technology 2.3 (2012): 16-25.

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Gender Identities and the Patriarchy in "The Devil Wears Prada"

# data[].attributes.attachment_link.description
The Devil Wears Prada (2006) is renowned for its strong female roles and an artificial look into the fashion industry. The movie follows Andrea (Andy) Sachs on her struggle to survive one year as the co-assistant (the other assistant is named Emily) for Miranda Priestly, the "dragon" editor-in-chief of the fashion magazine .