During Wintour’s trip to London, she made the comparison while attending a screening of the new musical version of the film. There, she told the BBC that “it will be up to the public and the people I work with to decide whether there is a resemblance between me and Miranda Priestly.”
As we spoke, I wanted to know if she considered Anna Wintour’s public persona — the sharp cut hair, the elaborate outfits, the glasses — a role she felt she had to play.
“I don’t really think about it,” she says. “What I’m really interested in is the creative side of my job.”
Wintour told me that she only brought one or two suitcases with her to London, and that she wouldn’t care if she cleaned up when she was back home in the US. “It’s about respecting how you present yourself.”
More than one person has told me that no one ever says no to Wintour. Donatello Versace says the same thing in the recent Disney documentary In Fashion: The 90s.
Wintour dies. “This is absolutely untrue. They often say no, but that’s okay. No is a wonderful word.”
Do you think people are afraid of you, I ask her. “I hope not,” she replies.
Under her leadership, with the help of talent, force of personality and an eye for what sells, Wintour tried to sustain Vogue in the future, turning it into a global brand. She is also a global content advisor for Conde Nast, the magazine publisher.
In today’s era, when influencers can photograph fashion moments and immediately pump them, Wintour successfully positions Vogue as the arbiter of taste and style.
