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The anticipation surrounding the release of *The Devil Wears Prada 2* has been palpable, with hopes that the sequel to the iconic 2006 film would embrace body diversity. However, early reviews suggest that the film falls short of its promises, relying instead on outdated humour that undermines its supposed commitment to inclusivity.
The Glimmer of Hope
During the extensive promotional campaign for the sequel, stars Meryl Streep and Anne Hathaway expressed their desire for the film to represent a broader spectrum of body types. Both actresses recounted their experiences at Milan Fashion Week, where they were alarmed by the prevalence of “alarmingly thin” models. In light of this, Hathaway approached the producers to advocate for a more varied representation of bodies in the film, believing it would enhance the viewing experience.
However, just minutes into the film, audiences are met with a weight-related joke that signals the film’s adherence to the same tropes it seemed ready to challenge. While there are attempts at diversity, such as the casting of comedian Caleb Hearon as Miranda Priestly’s second assistant and brief appearances by plus-size models like Ashley Graham, these efforts feel superficial and more geared towards ticking boxes than fostering genuine inclusivity.
A Step Backward for Body Image
The original *Devil Wears Prada* was released amid the intense scrutiny of body image prevalent in the early 2000s, a time when public opinion often favoured extreme thinness. The film capitalised on this culture, with memorable quotes that encapsulated the obsession with weight, such as Emily Charlton’s infamous line about being “one stomach flu away from her goal weight.”
Fast forward to today, and while the concept of “body positivity” has entered mainstream fashion discourse, recent reports indicate a troubling regression. A study by Vogue Business highlighted that a staggering 97.6% of models showcased in the latest womenswear collections were straight-size, leaving only a tiny fraction representing plus-size and mid-size individuals. The fashion industry, it seems, is still grappling with its commitment to inclusivity.
The Role of Weight-Loss Drugs
Compounding the issue is the rising popularity of weight-loss medications, such as Ozempic, which have infiltrated Hollywood and beyond. Originally intended for diabetes management, these drugs are now often used as a shortcut to achieve the narrow beauty ideals perpetuated by the entertainment industry. The Met Gala’s upcoming theme, “fashion is art,” may further exacerbate this trend, as guests are encouraged to showcase their bodies as a form of artistic expression.
In this context, the humour surrounding weight in *The Devil Wears Prada 2* feels not only regressive but indicative of a cultural landscape that has not evolved as much as it should have. A scene where Andy refers to herself as her “former fat assistant” is a stark reminder of the film’s inclination to resort to familiar jokes, rather than challenge the status quo.
Why it Matters
The sequel to *The Devil Wears Prada* serves as both a reflection and a critique of the fashion industry’s ongoing struggle with body image representation. Despite the initial promise of progress, the film’s reliance on outdated weight-related humour highlights the urgent need for a more authentic and inclusive dialogue around body diversity. As society continues to grapple with these issues, cinematic portrayals carry significant weight in shaping public perceptions and attitudes. The missed opportunity presented by this sequel underscores the importance of genuine representation in media, reminding us that change must come from more than just superficial efforts.
