Meryl & anna: vogue's cover story that broke the internet
The fashion world held
its breath. For years, the mere suggestion of a joint cover featuring Meryl Streep and Anna Wintour felt like a fever dream—a collision of Hollywood royalty and the undisputed Queen of Vogue. Now, it’s reality, gracing the May 2026 issue and arriving just in time for the Met Gala frenzy. But the story behind the image is even more compelling than the stunning portraits themselves.A fleeting moment of doubt, a decade in the making
The genesis of this unlikely pairing dates back to the 2006 premiere of The Devil Wears Prada. I remember attending with my mother, a surreal experience seated just behind Anna Wintour and her daughter, Bee. A seemingly insignificant conversation about summer plans with a young Bee sparked an idea—a feeling that Vogue shouldn’t cede the cultural narrative solely to Disney’s forthcoming sequel. The timing, conveniently aligned with the Met Gala pre-buzz, solidified the vision: May’s cover belonged to this moment.
The initial pitch to Wintour, offered with a nervous tremor during a Paris towncar ride en route to a Balenciaga preview, was met with a polite, yet firm, rejection. “That’s very flattering, Chloe, but it’s not really my style,” she remarked, a fleeting smile barely registering on her face. A momentary defeat, perhaps, but not a final one. Months later, Streep, recognizing the cultural significance of the moment, stepped in and, with an undeniable grace, persuaded Wintour to reconsider.
The result? A three-way conversation, orchestrated by Greta Gerwig, captured by Annie Leibovitz, and a cover that has already ignited a thousand conversations. The interview itself delved into the enduring power of The Devil Wears Prada—a film that, remarkably, continues to resonate with audiences far beyond the confines of the fashion industry. As Meryl herself observed, “I would dread the shoes,” a sentiment echoed by Wintour’s admission that she couldn't envision herself inhabiting Streep’s craft.
The phenomenon of The Devil Wears Prada isn’t lost on those within the industry. It’s a touchstone, a reference point. Friends’ parents, suburban businessmen, even my mother’s doormen—all inquire, “Is it like that?” The film’s portrayal of Miranda Priestly has become a cultural shorthand for ambition, power, and a certain uncompromising aesthetic—a role men, in particular, seem to identify with. This perception, another surprising revelation from the interview, speaks volumes about the film’s universal appeal.
Alongside the cover story, the May issue features Ethan James Green’s arresting photography within The Met’s new Condé M. Nast Galleries, portraits of the Gala host committee by Annie Leibovitz, and a fascinating exploration of body representation in the Costume Institute’s upcoming exhibition. And, naturally, The Devil Wears Prada has been selected as Vogue’s latest Book Club pick, prompting an early screening and a reunion of former Anna Wintour assistants—a testament to the film’s enduring legacy and the indelible mark it has left on the world of fashion and beyond.
A secret mission and a nod to the past
The cover shoot itself was treated with a level of secrecy approaching the Pentagon Papers. Even Louisa Jacobson, Meryl Streep’s youngest daughter, nearly spilled the beans at a Calvin Klein show. Virginia Smith orchestrated the styling, pulling pieces from Dries Van Noten and, of course, Prada, while Anna’s famously meticulous assistants, Emily and Caroline, ensured every detail was flawlessly executed. It was, in every sense of the word, a meticulously planned operation—a homage to the very world The Devil Wears Prada so brilliantly satirized.
And now, as the film’s sequel prepares to hit theaters, and the fashion world gears up for the Met Gala, one thing is certain: the legacy of Miranda Priestly, and the cultural fascination she represents, shows no signs of slowing down. The image of Streep and Wintour together, a symbol of two formidable forces, will undoubtedly be etched in the annals of fashion history.