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Posted by motoman 03/09/2009 @ 16:12

Tags : prada, milan, fashion shows, fashion, entertainment, prada s.p.a., apparel, fashion industry, business

News headlines
Azam's opposition a blessing in disguise for Jaya Prada? - Times of India
LUCKNOW: Did Azam Khan's opposition came as a blessing in disguise for Jaya Prada? If local political observers and sources in the administration closely associated with the poll process are to be believed, Azam's stiff and vocal resistance to the...
THE DEVIL WEARS PRADA debut at number 11 on Billboard in USA -
The Devil Wears Prada's new album “With Roots Above And Branches Below” debuted at # 11 on Billboard's Top 200 Chart. The band scanned over 30883 (31152 RTD) albums within a week in the US with initial reports that they sold over 15000 copies the first...
'60 Minutes': Vogue editor Anna Wintour profiled, coldly and ... - Entertainment Weekly
It was as though Morley Safer's rascally postman had finally delivered that NetFlix copy of 2006's The Devil Wears Prada, and Safer -- Gabby Hayes with a pocket handkerchief -- cackled, "By cracky, you mean there's a real-life lady this thing was based...
Why Emily Blunt refused to do it with Russell Brand - First Post
The English actress Emily Blunt, who made her name with a scene-stealing role in The Devil Wears Prada and recently won plaudits for her lead role in The Young Victoria, has reportedly pulled out of a film because it would involve too many sex scenes...
Luxury the new McDonald's - WA today
The book's blurb, says Thomas, Newsweek's Paris cultural and fashion writer, digs deep into the dark side of the luxury industry to uncover the secrets that Prada, Gucci, Burberry and others don't want us to know. She shrugs off impending retribution....
Jaya Prada's allegations political drama: Azam Khan - Business Standard
PTI / Rampur(up) May 13, 2009, 14:30 IST SP leader Azam Khan today described party candidate Jaya Prada's allegations against him of sabotaging her poll prospects with 'morphed' CDs as a "political drama" and said film stars were capable of changing...
Snappers don't let up to end skid - Beloit Daily News
“A big key to winning games, from the hitting side, is just to put the game away when you have a chance, and we haven't been doing that lately,” Snappers manager Nelson Prada said. “And from the pitching side, when the offense does give you runs,...
Jaya Prada steals the show; defeats Bano - Business Standard
PTI / Rampur May 16, 2009, 16:00 IST Notwithstanding the campaign marred by mudslinging and intra-party feud, Samajwadi Party candidate Jaya Prada today won the Rampur Lok Sabha seat defeating her nearest Congress rival Noor Bano Begum by 30931 votes....
Female villains go corporate - Pittsburgh Tribune-Review
In "The Devil Wears Prada," Meryl Streep is deliciously dishy as the tyrannical fashion editor Miranda Priestly. In the conspiracy thriller "Michael Clayton," Tilda Swinton plays a coldly ambitious litigator who orders a hit on one of her firm's...
Prada's got Seoul: Miuccia's greatest designs are now the subject ... - Independent
In one corner of the exhibition, Waist Down: Skirts by Miuccia Prada – shown in Rem Koolhaas's radical new "Transformer" building in Seoul – there is a row of skirts swinging from side to side as if dancing. Across the cocoon-like space,...


The Prada boutique at the Galleria Vittorio Emanuele II in Milan, Italy.

Prada, S.p.A. is an Italian fashion label specializing in luxury goods for men and women (ready-to-wear, leather accessories, shoes, and luggage). Prada is considered one of the most influential clothing designers in the fashion industry. The label is synonymous with opulence and quality, and is widely regarded as a status symbol. Like numerous other luxury brands, Prada battles against counterfeiting and ensures authenticity only from its official boutiques (found globally) and online store.

First opened as a leathergoods shop in Milan in 1913, the Prada label was taken in by designer Miuccia Prada in 1989 and transformed into the luxury goods, fashion house recognized today.

The company was begun as Fratelli Prada ( English: Prada Brothers ) by Mario Prada in 1913 as a leathergoods shop in Milan, Italy. Not only was his shop a purveyor of leathergoods, but also sold imported English steamer trunks and handbags. Fratelli Prada gained great reputation. Mario Prada did not believe in women interaction within business, and so he prevented female family members from entering into his workshop. After his death in the mid-1950s, Mario's son harbored no interest in the business. So ironically, it was Mario's daughter-in-law who took the helm of Prada, and maintained it for almost twenty years. Her own daughter, Miuccia Prada, joined the company in 1970. Miuccia began making waterproof backbacks out of Pocone. She met Patrizio Bertelli in 1977, an Italian who had begun his own leathergoods business at the age of 17, and he joined the company soon on. He greatly advised Miuccia -- and she readily followed the advice -- on better decisions for the Prada company. It was his advice to discontinue importing English goods and to begin to revolutionize the oldfashioned luggage styles.

Miuccia inherited the company in 1978 by which time sales were up to $450,000 USD. With Bertelli alongside her as business manager, Miuccia was allowed time to implement for total mind onto design. She would go on to incorporate her ideas into the House of Prada that would transform it into a label of renown. She released her first set of backpacks and totes in 1979. They were made out of a tough military spec black nylon that her grandfather had used as coverings for his steamer trunks. Initial success was not instant, as they were hard to sell due to the lack of advertising and high-prices, but the lines would go on to become her first commercial hit. Next, Miuccia and Bertelli sought out wholesale accounts for the bags in upscale department stores and boutiques worldwide. In 1983, Prada opened a second boutique in Millan reminiscent to the original shop, but with a sleek and modern contrast to it. It was opened in the historic and upscale shopping district of Galleria Vittorio Emanuele II.

For 1990, sales were reported at L 70 billion, or $31.7 million USD. Partrizio di Marco became in charge of growing business in the United States after working for the House in Asia. He was successful in having the Prada bags prominently displayed in department stores, and, so, they became a hit with fashion editors. Prada's continued success was attributed to its "working-class" theme that Ginia Bellafante in the New York Times Magazine proclaimed, "was becoming chic in the high-tech, IPO-driven early 1990s." Furthermore, now husband and wife, Miuccia and Bertelli led the Prada lable on a very cautious expansion, making products hard to come by. In 1992, the clothing brand Miu Miu was launched. It was named after Miuccia's nickname, and catered for more younger consumer base by offering apparel constructed out of "tacky synthetic fabrics". By 1993 Prada was awarded the Council of Fashion Designers of America award for accessories.

Men's ready-to-wear collections were launched in the middle of the decade as well. By 1994, sales were at ▲ $210 million USD, with clothing sales making up for 20% (expected to double in 1995). Prada won another award from the CFDA, this time in 1995 as "Designer of the Year." 1996 witnessed the opening of the 18,000ft2 Prada boutique in Manhattan, New York, the largest in the chain at the time. By now the House of Prada operated 40 locations worldwide, 20 of which were prominently located in Japan. As for manufacturing, the company owned eight factories and subcontracted work from 84 other manufacturers in Italy. Miuccia's Prada and Bertelli company were merged together to create Prapar B.V. in 1996. The name, however, was later changed to Prada B.V. and Patrizio Bertelli was named Chief Executive Officer of the Prada luxury company.

Nevertheless, Prada was determined to become a leading holder of a portfolio of Luxury brands similar to the Gucci group and LVMH. 51 % of Helmut Lang's New-York-based company were purchased for $40 million USD (Lang's company was worth about $100 million USD) in March 1999. Months later, $105 million USD were paid by Prada to have full control of Jil Sander A.G., a German-based company with annual revenue of $100 million USD. The purchase gained Prada a foothold in Germany, and months later Jil Sander resigned as chairwoman for her namesake company. Church & Company (an English brand of quality shoemaking) also befell unto Prada, when Prada bought 83% of the company at $170 million USD. A joint venture between Prada and the De Rigo group was also formed that year for the manufacturing of Prada eyewear. In October 1999, Prada joined forces with LVMH to purchase together a 51% stake in the Rome-based luxury company of Fendi S.p.A. They did this to out beat Gucci, who had also wanted to purchase that share. Prada's half of that purchase (25.5%) was worth $241.5 million USD out of the reported $520 million USD total paid by both Prada and LVMH. However, Fendi was ailing and Prada took in debts as a result.

The past inquisitions truly rose Prada to the high ranks of European luxury goods groups. Revenue tripled from that of 1996, to ▲ L 2 trillion. Despite apparent success, the company was in debt.

It suspended to merging and purchasing in 2000s, however, a loose agreement was signed in with Azzedine Alaia. Personal skin care products were introduced in the United States in October 2000 (a 30-day supply of cleansing lotion going for the retail price of $100 USD). To help pay off debts of over $850 million USD, the company planned on offering 30% of the company on the Milan Stock Exchange to the public on June 2001. However, the offering was slowed down after a decline in luxury goods spending in the United States and Japan. In 2001, under the pressure of his bankers, Bertelli also sold all of Prada's 25.5% share in Fendi to LVMH to help reduce Prada's debt. He raised only $295 million USD.

By 2006, the Helmut Lang, Amy Fairclough and Jil Sander labels were sold. Jil Sander was sold to the private equity firm Change Capital Partners, which is headed by Luc Vandevelde, the chairman of Carrefour, while the Helmut Lang label is now owned by Japanese fashion company Link Theory. Prada is still recovering from the Fendi debt. More recently, a 45% stake of the Church & Company brand has been sold to Equinox.

Fortune states that Betelli plans on increasing revenue for the House of Prada to $5 billion USD by 2010.

Prada, along with fellow fashion houses Calvin Klein and Gucci, is known for its practice of casting new models to walk exclusively in their runway shows. Usually, one of the models chosen as an exclusive will be selected to open the Prada show. An exclusive or opening spot in a Prada show is among the most coveted bookings in the modeling world, since it usually leads to greater success in future seasons, as well as in the campaign/editorial field. Previous Prada exclusives and openers who have gone on to enjoy success in the fashion world include Daria Werbowy, Gemma Ward, Suvi Koponen and Sasha Pivovarova, who went on to appear in Prada's ad campaigns for six consecutive seasons after opening the Prada Fall 2005 runway show.

Prada has commissioned architects, most notably Rem Koolhaas and Herzog & de Meuron, to design flagship stores in various locations. A duplex megastore will be opened in Kuala Lumpur this year.

In May 2007, Prada joined forces with cell phone maker LG Electronics to create the LG Prada (KE850) phone. It retails for $800. This phone has yet to be released in North America.

In 2009 the second generation of the LG Prada phone (KF900) was launched in Europe. Having 3G capability the phone is vastly more advanced that its predecessor. The phone features a new sliding QWERTY keyboard which adds to the dimensions of the phone making it bulkier, but very functional. The phone also works with the new Prada Link watch which users can view text messages on via a bluetooth connection to their phone.

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Miuccia Prada

Miuccia Bianchi Prada (born Maria Bianchi 10 May 1949, in Milan) is an Italian fashion designer (Prada, Miu Miu) and entrepreneur. She also has a Ph.D. in Political Science.

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The Devil Wears Prada (film)

The Devil Wears Prada main onesheet.jpg

The Devil Wears Prada is a 2006 comedy-drama film, a loose screen adaptation of Lauren Weisberger's 2003 novel of the same name. It stars Anne Hathaway as Andy Sachs, a recent college graduate who goes to New York City and gets a job as a co-assistant to powerful and demanding fashion magazine editor Miranda Priestly, played by Meryl Streep. Emily Blunt and Stanley Tucci co-star in support of the two leads, as catty co-assistant Emily Charlton, and critical yet supportive Art Director Nigel, respectively. Adrian Grenier, Simon Baker and Tracie Thoms play key supporting roles. Wendy Finerman produced and David Frankel directed; the film was distributed by 20th Century Fox.

Streep's performance drew rave reviews from critics and later earned her many award nominations, including her record-setting 14th Oscar bid, as well as a Golden Globe for Best Actress in a Comedy or Musical. Blunt also drew favorable notice and nominations, as did many of those involved in the film's production. While critical reaction to the film as a whole was more measured, it was well received by the public becoming a surprise summer box-office hit following its June 30 North American release. The commercial success and critical praise for Streep's performance continued in foreign markets, with the film leading the international box office for most of October. The U.S. DVD release likewise was the top rental during December. Ultimately, it would gross over $300 million, mostly from its international run, and finish in 2006's top 20 both in the U.S. and overseas. It is also the 2nd highest-grossing film in Streep's career (the first being Mamma Mia!) and the highest grossing in Hathaway's. A television series is being developed.

Although the movie is set in the fashion world, most designers and other fashion notables avoided appearing as themselves for fear of displeasing U.S. Vogue editor Anna Wintour, who is widely believed to have been the inspiration for Priestly. Many designers did, however, allow their clothes and accessories to be used in the film, making it the most expensively-costumed film in history. Wintour later overcame her initial skepticism, saying she liked the film and Streep in particular.

Andrea "Andy" Sachs (Anne Hathaway), an aspiring journalist fresh out of Northwestern University, lands the magazine job "a million girls would kill for": junior personal assistant to icy editor-in-chief Miranda Priestly (Meryl Streep), who dominates the fashion world from her perch atop Runway magazine. She puts up with the eccentric and humiliating requests of her boss because, she is told, if she lasts a year in the position she will get her pick of other jobs, perhaps even the journalistic position she truly craves.

At first, she fits in poorly among the gossipy fashionistas who make up the magazine staff. Her lack of style or fashion knowledge and fumbling with her job make her an object of scorn around the office. Senior assistant Emily (a name Miranda also uses to refer to Andy) Charlton, her co-worker, is condescending to her. Gradually, though, with the help of art director Nigel (Stanley Tucci), Andy adjusts to the position and its many perks, including free designer clothing and other choice accessories. She begins to dress more stylishly and do her job competently, fulfilling a seemingly impossible request of Miranda's to get two copies of an unpublished Harry Potter manuscript to her daughters.

She also comes to prize chance encounters with attractive young writer Christian Thompson (Simon Baker), who helped her obtain the Potter manuscript and suggests he could help her with her career. However, her relationships with her boyfriend Nate (Adrian Grenier), a chef working his way up the career ladder, and other college friends suffer due to the increasing time she spends at Miranda's beck and call.

Shortly afterwards, Andy saves Miranda from social embarrassment at a charity benefit when the cold-stricken Emily falters in reminding Miranda who an approaching guest is. As a result, Miranda tells Andrea that she will accompany her to the fall fashion shows in Paris, rather than Emily who had been looking forward to the trip for months. Miranda warns Andy that if she declines, it could adversely affect her future job prospects. Emily is hit by a car before Andy can tell Emily the next morning, making her choice moot.

During a gallery exhibit of her friend Lily's photography, Andy again encounters Christian, who openly flirts with her, much to the shock and disgust of Lily, who witnesses it all. After Lily calls her out and walks away, Andy bumps into Nate, who, when she tells him she will be going to Paris, is angered that she refuses to admit that she's become the girls she's made fun of and that their relationship has taken a back seat. As a result, they break up in the middle of the street the night before she leaves for Paris.

In Paris, Nigel tells Andy that he has got a job as creative director with rising fashion star James Holt (Daniel Sunjata), at Miranda's recommendation, and will finally be in charge of his own life. She also finally succumbs to Christian's charms, and sees her boss let down her guard for the first time as she worries about the effect an impending divorce will have on her daughters. In the morning, Andrea finds out about a plan to replace Miranda as Runway editor with Jacqueline Follet, editor of the magazine's French edition, later that day. Despite the suffering she has endured at her boss's behest, she attempts to warn Miranda but is seemingly rebuffed each time.

At a luncheon later that day, however, Miranda announces that it is Jacqueline instead of Nigel who will leave Runway for Holt. Later, when the two are being driven to a show, she explains to a still-stunned Andrea that she was grateful for the warning but already knew of the plot to replace her and sacrificed Nigel to keep her own job. Pleased by this display of loyalty, she tells Andrea she sees some of herself in her. Andrea, repulsed, said she could never do to anyone what Miranda did to Nigel, primarily as Nigel mentored Andrea. Miranda replies that she already did, stepping over Emily when she agreed to go to Paris. If she wants to get ahead in her career, that's what she'll have to be willing to do. When Andrea questions if the cut-throat fashion industry is truly where she wants to be, Miranda icily replies that "everybody wants to be us" -- implying that in Miranda's eyes, Andrea's transformation from the idealistic and empathetic aspiring journalist to a fellow fashionista is now complete.

Andrea gets out of the limo at the next stop, going not into the show with Miranda but out into the street, where instead of answering yet another call from her boss she throws her cell phone into the fountain of the Place de la Concorde, leaving Miranda, Runway and fashion behind.

While the basic plot elements of Weisberger's novel remain in place, many changes were made to the specifics. Screenwriter Aline Brosh McKenna created an entirely different crisis at the end of the story, and this required changes to many of the characters.

In the novel, Andrea is forced into confronting Miranda at the climax when, back in New York, Lily is involved in a car accident, which leaves her comatose. Andrea's friends and family challenge her via phone calls to stand up for herself. Andrea ends her time with Miranda by telling her, very publicly, "Fuck you, Miranda. Fuck you!" The conspiracy to remove Miranda as Runway editor, and everything associated with it, was written entirely for the film.

To set up the climax, details along the way were changed or added. Irv Ravitz, head of Elias-Clark, was given a far bigger part in the movie. The scene where Andrea succeeds where the sick Emily faltered at the benefit was adapted from a similar scene in the novel which did not involve Emily. Her inability to go to Paris in the novel is due to a bout of mononucleosis. McKenna and Frankel decided to have her suffer the car accident instead of Lily to let Andrea out of a moral dilemma that could have made her less sympathetic in viewers' eyes.

Afterwards, the novel's Andrea sells her leftover clothing to a second-hand shop for $38,000 and finances her writer's life for the next year. She, too, eventually returns to publishing when she sells a short story to Seventeen, and then returns to Elias-Clark to discuss freelance writing assignments with another of the company's magazines, The Buzz.

All the major characters were revised at least slightly from their counterparts in the novel. Andrea was made a graduate of Northwestern instead of Brown, and a native of Ohio rather than Connecticut. Her career aspirations were changed from writing for The New Yorker to newspaper journalism. The film added a subplot about Miranda's failing marriage, and made her character more sympathetic overall. On the other hand, the film made Emily less sympathetic; the novel's Emily is kinder to Andrea and lives in just as much fear of Miranda, sometimes engaging in passive-aggressive behavior toward her. Andrea's boyfriend's name was changed from Alex to Nate for the film, and he was made a chef instead of an elementary school teacher through Teach for America in the Bronx.

Lily underwent the most significant change from novel to film. Her role in the novel is far larger: she has been Andrea's best friend since eighth grade and the two went through college together. Instead of running an art gallery, she is a graduate student in Russian literature at Columbia University. Stressed from her studies, she starts to pick up men in bars and develops a drinking problem, which leads to her car accident and the climactic confrontation between Andrea and Miranda.

The novel depicts Lily, Andrea, Alex/Nate, and Miranda all as having come from Jewish backgrounds. The film makes no reference to any character's ethnicity.

Among the minor characters, James Holt and Jacqueline Follet, who figure prominently in the film's resolution, were created for the film and do not exist in the novel. Likewise, several gay male Runway staffers mentioned in the novel were combined into the film's Nigel, very different from the original Nigel modeled on André Leon Talley. Miranda's nanny Cara and the Elias-Clark security guard Eduardo were also eliminated for the film. Only Christian is similar to his text counterpart, although his part was made much smaller and his name was changed from Christian Collinsworth to Christian Thompson.

Director David Frankel and producer Wendy Finerman had originally read The Devil Wears Prada in book proposal form. It would be Frankel's second theatrical feature. He, cinematographer Florian Ballhaus and costume designer Patricia Field, drew heavily on their experience in making Sex and the City.

Four screenwriters worked on the property before Aline Brosh McKenna, who was able to relate her own youthful experiences to the story, produced a draft that struck the right balance for Finerman and Frankel, rearranging the plot significantly and focusing the story on the conflict between Andrea and Miranda. She also toned down Miranda's meanness at the request of Finerman and Frankel, only to restore it at Streep's request. Hathaway, the only actress considered for the lead, took the part to work with Streep, but also due to some personal aspects. Blunt, whom Finerman desired for her sense of humor, denied rumors she lost weight at the filmmakers' request. She insisted on playing the character as British. Gisele Bündchen agreed to be in the movie only if she didn't play a model.

Tucci was one of the last actors cast. Supposedly, the filmmakers had auditioned Simon Doonan, the creative director at Barney's and E!'s Robert Verdi, both openly gay men highly visible as media fashion commentators, for the part. Verdi would later claim there was no intention to actually hire him and the producers had just used him and Doonan to give whoever they ultimately did cast some filmed research to use in playing a gay character (he would end up with a walk-on part as a fashion journalist in Paris). Tucci claims he was unaware of this: "All I know is that someone called me and I realized this was a great part." He based the character on various people he was acquainted with, insisting on the glasses he ultimately wore. Sunjata had originally read for Tucci's part, rather unenthusiastically since he had just finished playing a similar character, but then read the Holt part and asked if he could audition for it. Baker auditioned by sending a video of himself, wearing the same self-designed green jacket he has on when he and Andrea meet for the first time.

Weisberger is widely believed to have based Miranda on Anna Wintour, the powerful editor of Vogue. Wintour reportedly warned major fashion designers who had been invited to make cameo appearances as themselves in the film that they would be banished from the magazine's pages if they did so. Vogue and other major women's and fashion magazines have avoided reviewing or even mentioning the book in their pages. Wintour's spokespeople deny the claim, but costume designer Patricia Field says many designers told her they did not want to risk Wintour's wrath.

Only Valentino, who had designed the black gown Streep wears in the museum benefit scene, chose to make an appearance. Coincidentally, he was in New York during production and Finerman dared Field, an acquaintance, to ask him personally. Much to her surprise, he accepted. Other cameos of note include Heidi Klum as herself and Weisberger as the twins' nanny. Streep's daughter's film debut as a barista at Starbucks was cut.

Principal photography took place over 57 days in New York and Paris between October and December 2005. The film's budget was $35 million.

Ballhaus, at Finerman and Frankel's suggestion, composed as many shots as possible, whether interiors or exteriors, to at least partially take in busy New York street scenes in the background, to convey the excitement of working in a glamorous industry in New York. He also used a handheld camera during some of the busier meeting scenes in Miranda's office, to better convey the flow of action, and slow motion for Andrea's entrance into the office following her makeover. A few process shots were necessary, mainly to put exterior views behind windows on sets and in the Mercedes where Miranda and Andrea are having their climactic conversation.

Streep made a conscious decision not to play the part as a direct impression of Wintour, right down to not using an accent and making the character American rather than English ("I felt it was too restricting"). "I think she wanted people not to confuse the character of Miranda Priestly with Anna Wintour at all," said Frankel. "And that's why early on in the process she decided on a very different look for her and a different approach to the character." The "that's all," "please bore someone else ..." catch phrases; her coat-tossing on Andrea's desk and discarded steak lunch are retained from the novel. Streep prepared by reading a book by Wintour protegé Liz Tilberis and the memos of legendary Vogue editor Diana Vreeland. She lost enough weight during shooting that the clothes had to be taken in.

Hathaway prepared for the part by volunteering for a week as an assistant at an auction house; Frankel said she was "terrified" before starting her first scene with Streep. The older actress began her working relationship with Hathaway by saying first "I think you're perfect for the role and I'm so happy we're going to be working on this together" then warning her that was the last nice thing she would say. Streep applied this philosophy to everyone else on set as well, keeping her distance from the cast and crewmembers unless it was necessary to discuss something with her.

She also suggested the editorial meeting scene, which doesn't advance the plot but shows Miranda at work without Andrea present. It was also her idea that Miranda not wear makeup in the scene where she opens up to Andrea and worries about the effect on her daughters of her divorce becoming public knowledge.

Frankel, who had worked with Patricia Field, before on his feature-film debut, Miami Rhapsody as well as Sex and the City, knew that what the cast wore would be of utmost importance in a movie set in the fashion industry. "My approach was to hire her and then leave the room," he joked later.

While none appeared onscreen, designers were very helpful to Field. Her $100,000 budget for the film's costumes was supplemented by help from friends from throughout the industry. Ultimately, she believes, at least $1 million worth of clothing was used in the film, making it one of the most expensively costumed movies in cinema history. The single priciest item was a $100,000 Fred Leighton necklace on Streep.

Chanel asked to dress Hathaway for the film, and Dolce & Gabbana and Calvin Klein helped Field as well. Although Field avoids making Streep look like Wintour, she dresses her in generous helpings of Prada. (By Field's own estimate, 40% of the shoes on Streep's feet are Prada.) Field added that much of the audience would not be familiar with Wintour's look and that "Meryl looks nothing like Anna, so even if I wanted to copy Anna, I couldn't." But, like Wintour and her Vogue predecessor Diana Vreeland, the two realized that Miranda needed a signature look, which was provided primarily by the white wig and forelock she wore as well as the clothes the two spent much time poring over look-books for. Field said she avoided prevailing fashion trends for Miranda during production in favor of a more timeless look based on Donna Karan archives and pieces by Michael Vollbracht for Bill Blass, a look she describes as "rich-lady clothes." She didn't want people to easily recognize what Miranda was wearing.

She contrasted Andrea and Emily by giving the former a "textbook" sense of style, without much risk-taking, that would suggest clothing a fashion magazine would have on hand for shoots. Much of her high-fashion wardrobe is, indeed, Chanel, with some Calvin Klein thrown in for good measure. Blunt, on the other hand was "so on the edge she's almost falling off." For her, Field chose pieces by Vivienne Westwood and Rick Owens, to suggest a taste for funkier, more "underground" clothing. After the film's release, some of the looks Field chose became popular, to the filmmakers' amusement.

She just sort of sits there with her cigarette and her hair, and she would pull stuff — these very disparate elements — and put them together into this ensemble, and you'd go, "Come on, Pat, you can't wear that with that." She'd say, "Eh, just try it on." So you'd put it on, and not only did it work, but it works on so many different levels — and it allows you to figure out who the guy is. Those outfits achieve exactly what I was trying to achieve. There's flamboyance, there's real risk-taking, but when I walk into the room, it's not flashy. It's actually very subtle. You look at it and you go, "That shirt, that tie, that jacket, that vest? What?" But it works.

He found one Dries van Noten tie he wore during the film to his liking and kept it.

After touring some offices of real fashion magazines, Jess Gonchor gave the Runway offices a clean, white look meant to suggest a makeup compact ("the chaste beiges and whites of impervious authority," Denby called it). Miranda's office bears some strong similarities to the real office of Anna Wintour, down to an octagonal mirror on the wall, photographs and a floral arrangement on the desk (a similarity so marked Wintour had her office redecorated after the movie). The magazine itself is very similar to Vogue, and one of the covers on the wall of the office, showing three models, is a direct homage to the August 2004 cover of that magazine.

She even chose separate computer wallpaper to highlight different aspects of Blunt's and Hathaway's character: Paris's Arc de Triomphe on the former's suggests her aspirations to accompany Miranda to the shows there, while the floral image on Andy's suggests the natural, unassuming qualities she displays at the outset of her tenure with the magazine. For the photo of Andrea with her parents, Hathaway posed with her own mother and David Marshall Grant. One of the purported Harry Potter manuscripts was later sold at auction for $586 on eBay, along with various clothing used in the film, to benefit Dress for Success, a charity which provides business clothing to help women transition into the workforce.

Aside from the clothing and accessories, some other well-known brands are conspicuous in the film.

The crew was in Paris for only two days, and used only exteriors. Streep did not make the trip.

Mark Livolsi realized, as McKenna had on the other end, that the film worked best when it focused on the Andrea-Miranda storyline. Accordingly, he cut a number of primarily transitional scenes, such as Andrea's job interview and the Runway staff's trip to Holt's studio. He also took out a scene early on where Miranda complimented Andrea. Upon reviewing them for the DVD, Frankel admitted he hadn't even seen them before, since Livolsi didn't include them in any prints he sent to the director.

Frankel praised Livolsi for making the film's four key montages — the opening credits, Miranda's coat-tossing, Andrea's makeover and the Paris introduction — work. The third was particularly challenging as it uses passing cars and other obstructions to cover Hathaway's changes of outfit. Some scenes were also created in the editing room, such as the reception at the museum, where Livolsi wove B-roll footage in to keep the action flowing.

The soundtrack album was released on July 11 by Warner Music. It includes all the songs mentioned above (except Madonna's "Jump") as well as a suite of Shapiro's themes. However, among the tracks not included is "Suddenly I See," which disappointed many fans. It became popular as a result of the film although the single did not crack the U.S. Top Forty. It nonetheless became a popular radio hit.

Two decisions by 20th Century Fox's marketing department that were meant to be preliminary wound up being integral to promoting the film. The first was the creation of the red stiletto heel ending in a pitchfork as the film's teaser poster. It was so successful and effective, becoming almost "iconic" (in Finerman's words), that it was used for the actual release poster as well. It became a brand, and was eventually used on every medium related to the film — the tie-in reprinting of the novel and the soundtrack and DVD covers as well.

The studio also put together a trailer of scenes and images strictly from the first three minutes of the film, in which Andrea meets Miranda for the first time, to be used at previews and film festivals until they could create a more standard trailer drawing from the whole film. But, again, this proved so effective with early audiences it was retained as the main trailer, since it created anticipation for the rest of the film without giving anything away.

The film did surprisingly well with audiences both inside and outside the U.S. Critics gave a fairly positive reaction to the film as a whole. Streep's performance drew universal acclaim, with some going as far as saying it was the only reason to see the film.

Metacritic reported the film had an average score of 62 out of 100, based on 40 reviews.

Initial reviews of the film focused primarily on Streep's performance, praising her for making an extremely unsympathetic character far more complex than she had been in the novel. "With her silver hair and pale skin, her whispery diction as perfect as her posture, Ms. Streep's Miranda inspires both terror and a measure of awe," wrote A. O. Scott in The New York Times. "No longer simply the incarnation of evil, she is now a vision of aristocratic, purposeful and surprisingly human grace." Kyle Smith agreed at the New York Post: "The snaky Streep wisely chooses not to imitate Vogue editrix Anna Wintour, the inspiration for the book, but creates her own surprisingly believable character." "Wintour should be flattered by Streep's portrayal," agreed Jack Mathews in the Daily News.

Blunt, too, earned some favorable notice. " has many of the movie's best lines and steals nearly every scene she's in," wrote Clifford Pugh in the Houston Chronicle. Other reviewers and fans concurred.

While all critics were in agreement about Streep and Blunt, they pointed to other weaknesses, particularly in the story. Reviewers familiar with Weisberger's novel assented to her judgement that McKenna's script greatly improved upon it. A rare exception was Angela Baldassare at MSN Canada, who felt the film needed more of the nastiness others had told her was abundant in the novel.

But those who weren't and even some who were found it a predictable morality play that was enjoyable to watch for Streep if nothing else. David Denby summed up this response in his New Yorker review: "The Devil Wears Prada tells a familiar story, and it never goes much below the surface of what it has to tell. Still, what a surface!" Many felt that the scenes away from the magazine were a drag on the story.

On its opening weekend, the film was on 2,847 screens. It grossed $27 million, second only to the much bigger-budget Superman Returns, and added $13 million more during the first week. This success led Fox to add 35 more screens the next week, the widest domestic distribution the film enjoyed. Although it was never any week's top-grossing film, it remained in the top 10 through July. Its theatrical run continued through December 10, shortly before the DVD release.

It had a very successful run in theaters, making nearly $125 million domestically and over $325 million worldwide, a career high for Meryl Streep, until Mamma Mia was released in 2008 and surpassed it.

A couple of weeks after the film's release, Reuters reported a striking phenomenon: All of the publicly traded companies that made products featured in the film had seen their share prices fall in that time. Analysts attributed the fall to the effect of rising gas prices on the economy, which led many consumers to cut back their purchases of luxury brands, rather than anything associated with the film.

Weisberger's novel had been translated into 37 different languages, giving the movie a strong potential foreign audience. It would ultimately deliver 60% of the film's gross.

The Devil Wears Prada topped the charts on its first major European release weekend on October 9, after a strong September Oceania and Latin America opening. It would be the highest-grossing film that weekend in Britain, Spain and Russia, taking in $41.5 million overall. Continued strong weekends as it opened across the rest of Europe helped it remain atop the overseas charts for the rest of the month. By the end of the year only its Chinese opening remained; it was released there on February 28, 2007.

Three months after the film's North American release (October 2006), Frankel and Weisberger jointly accepted the first Quill Variety Blockbuster Book to Film Award. A committee of staffers at the magazine made the nominations and chose the award winner. Editor Peter Bart praised both works.

The film was honored by the National Board of Review as one of the year's ten best. The American Film Institute gave the film similar recognition.

The film received ample attention from the Hollywood Foreign Press Association when its Golden Globe Award nominations were announced on December 14, 2006. The film itself was in the running for Best Picture (Comedy/Musical) and Supporting Actress (for Blunt). Streep later won the Globe for Best Actress (Musical/Comedy).

On January 4, 2007, her fellow members of the Screen Actors Guild nominated Streep for Best Actress as well. Four days later, at the National Society of Film Critics awards, Streep won Best Supporting Actress for her work both in Devil and A Prairie Home Companion. McKenna earned a nomination from the Writers Guild of America Award for Best Adapted Screenplay on January 11, 2007.

The following day, the British Academy of Film and Television Arts announced its 2006 nominations; Blunt, Field, McKenna and Streep were all among the nominees, as were makeup artist and hairstylists Nicki Ledermann and Angel de Angelis.

On January 23, 2007 Streep received her 14th Academy Award nomination for Best Actress, lengthening her record from 13 for most nominations by any actor male or female. Field received a Costume Design nomination as well. Neither won, but Blunt and Hathaway presented the latter award, amusing the audience by slipping into their characters for a few lines, nervously asking which of them had gotten Streep her cappucino. Streep played along with a stern expression before smiling.

Closed captions in French and Spanish are also available. The DVD is available in both full screen and widescreen versions. Pictures of the cast and the tagline "Hell on Heels" were added to the red-heel image for the cover. It was released in the UK on February 5, 2007.

A Blu-ray Disc of the film was released simultaneuously with the DVD. The featurettes were dropped and replaced with a subtitle pop-up trivia track that can be watched by itself or along with the audio commentary.

Immediately upon its December 12 release, it became the top rental in the USA. It held that spot through the end of the year, adding another $26.5 million to the film's grosses. The following week it made its debut on the DVD sales charts in third position.

Among the deleted scenes are some that added more background information to the story, with commentary available by the editor and director. Most were deleted by Livolsi in favor of keeping the plot focused on the conflict between Miranda and Andrea, often without consulting Frankel.

Frankel generally approved of his editor's choices, but differed on one scene, showing Andrea on her errand to the Calvin Klein showroom. He felt that scene showed Andrea's job was about more than running personal errands for Miranda.

Amidst the generally warm reception for the film, there were two criticisms apart from aesthetics. Some journalists familiar with the fashion world thought its portrayal unrealistic, and some gay viewers took issue with how the film presented Nigel.

Some media outlets allowed their present or former fashion reporters to weigh in on how realistic the movie was. Their responses varied widely.

Booth Moore at Los Angeles Times chided Field for creating a "fine fashion fantasy with little to do with reality," a world that reflects what outsiders think fashion is like rather than what the industry actually is. Unlike the movie, in her experience fashionistas were less likely to wear makeup and more likely to value edgier dressing styles (that would not, however, include toe rings). "If they want a documentary, they can watch the History Channel," retorted Field. Another newspaper fashion writer, Hadley Freeman of The Guardian, likewise complained the film was awash in the sexism and clichés that, to her, beset movies about fashion in general.

The film brilliantly skewers a particular kind of young woman who lives, breathes, thinks fashion above all else ... those young women who are prepared to die rather than go without the latest Muse bag from Yves Saint Laurent that costs three times their monthly salary. It's also accurate in its understanding of the relationship between the editor-in-chief and the assistant.

Ginia Bellefante, former fashion reporter for The New York Times, also agreed, calling it "easily the truest portrayal of fashion culture since Unzipped" and giving it credit for depicting the way fashion had changed in the early 21st century. Her colleague Ruth La Ferla found a different opinion from industry insiders after a special preview screening. Most found the fashion in the movie too safe and the beauty too overstated, more in tune with the 1980s than the 2000s. "My job is to present an entertainment, a world people can visit and take a little trip," responded Field.

Stanley Tucci told the gay magazine Out that he played the part with no doubt whatsoever that the character was gay. While many viewers, gay and straight, shared the assumption, nothing in the film directly suggests that he is other than a brief glance he makes at an attractive man. In the novel, he, and the other male Runway staffers are very out, often described as flamboyant, freely discussing their sex lives, and sometimes checking each other out.

There is none of this in the film. Instead, Nigel tells Andrea that, as a child, he told his family he was attending soccer practice when he was really taking sewing lessons, and read Runway under the covers of his bed at night with a flashlight. Finerman also says that during his first scene in the film, his visit to Andrea's hotel room in Paris to celebrate his imminent promotion, they had not yet decided how "extravagant" he would be. The film also gives no indication that he is involved in any traditional marriage or relationship with a woman. No other male staffer or editor has a significant part and indeed there is no reference to homosexuality at all. Jeffy and James, two of the gay men in the novel, were eliminated. One viewer, David Poland, pointed out this aspect of the film on his blog, The Hot Button, but noted it was part of a general desexualization that led him to call the movie No Sex in the City. On the other hand, a gay viewer who blogs about gay content in movies as Queer Beacon, found Tucci's portrayal refreshingly free of overdone stereotypes, while another gay blogger expressed his displeasure that a movie about an industry well-known for its openly gay men seemed so determined to avoid the subject. Controversy notwithstanding, readers of voted the film the best of 2006. William Maltese, from, called it "refreshing that the jokes in Devil do not come at Nigel's expense or because of his sexuality." It is also mentioned that Nigel is key for Andy's transformation from ugly-duck-to-swan propels her into the second half of the film.

Queer Beacon also wondered if Doug might be gay, since he is more aware of Miranda's importance to fashion than Andrea; also, later, when Lily takes him from Andrea at the gallery to introduce him to "someone he might find interesting," she doesn't specify that person's gender. Sommer says on his blog, however, that Doug was not written to be gay and was merely based on a friend of McKenna's.

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Ágatha Ruiz de la Prada

Ágatha Ruíz de la Prada y Sentmenat (born 22 June 1960) is a Spanish fashion designer who is one of her country's best-known personalities in the clothing industry, in addition to being a highly-recognized figure on the European social and entertainment scene.

Following their marriage in 1958, Juan Manuel Ruíz de la Prada y Sánchiz and Isabel de Sentmenat y de Urruela, daughter of the 3rd Marquess of Oris and 26th Baron of Santa Pau, became the parents of Ágatha, who was born in Madrid. Following studies at the Barcelona Fashion Institute , she entered the world of fashion in 1980 at the age of twenty and started her career as a designer the following year, in the aftermath of having arranged her first fashion show in Madrid's Centro Superior de Diseño de Moda. Top models like Eva Riccobono and Andreea Stancu walk regulary for her during fashion weeks.

In the following years, Ágatha Ruíz de la Prada became a leading figure of the capital city's sociocultural movement of the late 1970s-early 1980s, known as the Movida. The popularity of her original bright-colored designs was assured by her skillful use of the motifs of moons, stars, suns or hearts, which also transferred to her designs for furniture, carpets, crockery, lamps, pens, pencils, lip balms, scents, sleeves, towels or bed linen as well as clothes for men, women and children. She is also known for having joined and supported Spain's Green party, the Confederation of the Greens, and for her success with top commercial enterprises such as Audi, Air Europa, DHL, Absolut and El Corte Inglés. In addition to fashion stores in a various Spanish cities, she also has outlets in Milan, Paris and New York.

Ágatha Ruíz de la Prada has continued to reside in her native Madrid, where she has one of her main studios and lives with her partner, journalist Pedro J. Ramírez, and their children, Tristan Jerónimo (born 1987) and Cósima Olivia (born 1990).

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The Devil Wears Prada (novel)

Anna Wintour, the alleged inspiration for The Devil Wears Prada's Miranda Priestly.

The Devil Wears Prada (2003) is a best selling novel by Lauren Weisberger about a young woman who, freshly graduated from college, is hired as a personal assistant to a powerful fashion magazine editor, a job that becomes hellish as she struggles to keep up with her boss's capricious and demeaning requests. It was greatly successful, spending six months on the New York Times bestseller list and becoming the basis for the successful 2006 eponymous film, with Meryl Streep, Anne Hathaway, and Emily Blunt.

A prime example of "chick lit," the novel was widely seen as a roman à clef about Vogue magazine and its iconic editor-in-chief Anna Wintour, since Weisberger worked there as an intern. Although she denies the story's editor is modeled on Wintour, many readers believed otherwise, which helped propel the book to the bestseller list.

The novel begins with its main character, Andrea Sachs, stuck in midtown Manhattan traffic, trying to remember how to use a manual transmission. She has picked up her boss's Porsche roadster, Runway magazine editor Miranda Priestly, from a shop and must get it to Miranda's apartment in time for Miranda's family to go to the Hamptons for the weekend. While she is attempting to do this, Miranda calls on her cell phone and excoriates her for not doing her job properly. She also tells her to pick up her pet French bulldog from the veterinarian's office. Trying to comply, Andrea ruins some of the expensive designer clothing she is wearing. She wishes Miranda would die. But if that did happen, she reminds herself, she'd lose the pleasure of killing Miranda herself.

In the next chapter, we go back in time and learn how she got into this predicament. After graduating from Brown with a degree in English, she visited India with her boyfriend Alex Fineman and came down with amoebic dysentery. Recovered, she leaves her home in Avon, Connecticut for New York City. There she moves in with her longtime friend Lily, now doing graduate studies in Russian at Columbia, and looks for a job.

People at the magazine are afraid of finding themselves alone in an elevator with her, or making critical remarks about her even to their close friends. Andrea dubs this attitude the Runway Paranoid Turnaround, as whenever one of her co-workers makes the slightest negative comment about Miranda, they immediately follow it up with a "turnaround" positive comment, due to their fear of their boss finding out about their attitude and firing them.

All the same, Andrea is told that if she manages to stick it out working for Miranda for a year, she can have her select pick of jobs within the magazine industry, so she valiantly struggles onward. Even in the present, the perks aren't bad — between Runway's notorious "closet" of designer clothes ostensibly "on loan" for photo shoots but rarely returned and often "borrowed" by the staff and the general obsequiousness she encounters as Miranda Priestly's personal assistant, she is able to acquire enough free designer clothing to fit in better with the rest of the fashionable Runway staff. Eventually, she develops an appreciation for it and stops incurring Miranda's displeasure. She gets a Bang and Olufsen phone for free when Miranda doesn't want it, and learns that Elias-Clark's policies regarding expense accounts are rather lax, to the benefit of herself and her friends.

She also goes to parties with celebrities. At one of them she meets Christian Collinsworth, a Yale graduate who has been identified as the hot (in more ways than one), up-and-coming writer of their generation. They become attracted to each other, complicating her relationship with Alex.

Her job, however, begins to affect her health; she starts to lose weight because she can't bring herself to eat. This is due to the fact that she knows that she, after years of being tall and fairly thin, is now the fat, lumpy dwarf. Eventually, she begins to rationalize her not eating by thinking that: "Missing one meal won't hurt, and anyway, $2000 pants don't look so hot on a fat girl." She realizes that she, in that thought, has begun to embody the Runway attitude.

While working for Miranda, she receives a letter from a teenager, telling Miranda that she loves her magazine, spends all her money on trying to look like the models, but still hates herself because "my butt is huge" and "I'm too fat". The teenager is begging Miranda to send her a dress to wear to her prom, but ends by telling her that, even if she throws the letter in the trash can, she'll still love her. Andrea begins to doubt the true value of her job, as it is, primarily, encouraging the woman who makes teenagers all over America hate themselves as much as this one. However, she keeps going, thinking that it will all be worthwhile when she gets a job at The New Yorker.

The 14-hour days she puts in almost routinely leave her little free time to spend with Alex and Lily, who is increasingly turning to alcohol and picking up dubious men in order to relieve the pressures of graduate school. Her relationship with her family also begins to suffer. Her parents complain she isn't making time to visit her older sister, who is expecting her first child. However, Andrea ignores all this, even to the point of staying at work when Lily is arrested for going 'bottomless' while on a date with her latest dubious conquest.

Matters finally come to a head when Emily gets mononucleosis and Andrea has to go with Miranda. She agrees, although this will mean canceling her and Alex's homecoming weekend trip, which has dire consequences on her relationship with Alex.

In Paris, she has a surprise encounter with Christian. Later that night, Miranda finally lets down her guard a little bit and asks Andrea what she's learned, and where she'd like to work afterwards. She promises to place phone calls to people she knows at The New Yorker on Andrea's behalf once her year is up, and tells her she can actually do some small written pieces for Runway.

But back at the hotel, she gets two urgent calls from Alex and her parents asking her to call them. She does so and learns that Lily is comatose in the hospital after driving drunk and wrecking a car.

Though Andrea is receiving pressure from her family and Alex to return home, she tells Miranda she will honor the commitment. Miranda is greatly pleased, and tells her that her future in magazine publishing is looking bright. At the Paris fashion show for Christian Dior, however, a livid Miranda phones her. After she hangs up, Andrea stares at her phone, trying to think how to accommodate Miranda's impossible demand. Then, Andrea finally realizes that her family and friends are more important than her job, and realizes that she is becoming more and more like Miranda. On the spot, Andrea flips out her cell phone and tells her family that she's coming home. Miranda disapproves, but Andrea tells Miranda publicly "Fuck you, Miranda. Fuck you." She is fired on the spot, but returns home to reconnect with her friends and family. Her romantic relationship with Alex is beyond repair, but they remain friends. Lily recovers and fares well in court for her DUI charge, receiving only community service.

In the last chapter we learn that the fallout from her standup to Miranda made her a minor celebrity when the incident made 'Page Six'. Afraid she had been blacklisted for good from publishing, she stay in Connecticut for a while and works on short fiction. Seventeen buys one of her stories, and Andrea begins a friendly and professional relationship with Loretta, one of the editors of the teen magazine, who also happened to work for Runway prior to her tenure there. She returns to New York and gives herself a comfortable financial cushion by selling all the designer clothing she took to Paris with her to consignment shops. She saves a pair of Dolce and Gabbana denim jeans for herself, gave a quilted Prada purse to her mother, and a Diane von Fürstenberg wrap dress to the teenager who wrote to Miranda.

At the novel's end, she is returning to the building to discuss a position at company's magazines. She arrives in the lobby to hear her friend, Eduardo the security guard, singing "American Pie", the goodbye song she never got to sing. She looks round, and realizes that it is, in fact, Miranda's new junior assistant, who is having to sing in order for Eduardo to let her through, while loaded with Miranda's coffee, shopping bags, newspapers, and her beaded clutch, and she remembers that that used to be her. Eduardo winks.

The novel is narrated entirely in the first person by Andrea, and told in mostly chronological order after the first chapter.

Meryl Streep's portrayal departed so much from the novel's portrait that she is credited with creating a new character.

Runway is also shown having cover graphics very like Vogue, right down to the ultramodern Bodoni font used for the magazine's title.

Other characters are reportedly modeled on real people at Vogue — Nigel on André Leon Talley, and Miranda-hating travel writer Judith Mason, who makes a brief appearance on the telephone, is a disguised version of food writer Jeffrey Steingarten (who likewise supposedly stutters a lot).

Those familiar with the offices of Condé Nast, which publishes Vogue, say Weisberger has much of the setting right in her fictional Elias-Clark, down to the layout and culture of the cafeteria (the huge salad bar and tiny "Carb Corner" reflecting staffers' aversion to eating any food that might cause the slightest weight gain), the use of company ID cards to track employees' whereabouts and the sterile décor of Wintour's office.

Elias-Clark president Irv Ravitz, who is alluded to on several occasions but never actually seen, seems to be modeled on his Condé Nast counterpart Samuel Irving Newhouse, Jr.

Many real-life fashion designers are referred to, such as Karl Lagerfeld, Oscar de la Renta, Tommy Hilfiger and Donatella Versace; and some celebrities, such as Reese Witherspoon, are seen at parties.

The Wintour angle was of great assistance in promoting the widely-anticipated book. It sold millions of copies in hardback, stayed on the New York Times Best Seller list for six months and has since been translated into 27 languages.

It was, however, duly noted that Maslin tactfully avoids naming both the magazine where Weisberger actually worked and the woman she allegedly modeled her main character on. The Times continued this practice when the film was released). It has been noted that Betts, a former Condé Nast editor, was hardly an impartial reviewer (In Weisberger's second novel, Everyone Worth Knowing, two characters are speculating on the identity of a popular anonymous online gossip columnist. One candidate is "that former fashion editor who goes around writing mean book reviews").

No Condé Nast Publications reviewed or otherwise mentioned The Devil Wears Prada.

The Devil Wears Prada was criticized primarily for the usual limitations of a first novel and for being too gossipy (as romans à clef often are). The story was seen as trite and clichéd (the same general plot is shared by the 1994 film Swimming with Sharks), and its autobiographical elements too thinly veiled. Many reviewers recalled The Nanny Diaries, similar in several ways to The Devil Wears Prada, and found Weisberger's book wanting.

The critics also claimed that Miranda was too one-dimensional, too much the absurdly overbearing boss. Yet Andrea admits that for all that, she still does the difficult work of keeping a premiere fashion magazine on top almost all by herself. As a result, she herself (along with Emily) enjoys considerable power in the fashion world as Miranda's gatekeeper.

Accordingly, the novel also makes Miranda seem sympathetic at a few points, most notably at an engagement party thrown for her brother-in-law, who has moved down to South Carolina and made a fortune in real estate. Andrea, surrounded by women from his social circle who "looked like a dressier version of the cast from Deliverance," even admits "I never grew tired of watching Miranda. She was the true lady and the envy of every woman in the museum that night".

While The Devil Wears Prada is on a narrative level about Andrea's struggle not to "sell out" her principles, whether sartorial, literary, or moral, its main preoccupation is snobbery. Andrea looks askance at the fashionistas she is surrounded by at Runway and hates their cliquishness (for example, the magazine's advertising department never invites anyone from the editorial side to their parties for advertisers not because they think the latter beneath them but because they know no one from editorial would be caught dead at an advertising party). But her distaste for them is equally snobbish, as many of the other characters, even (ultimately) Miranda, repeatedly point out to her.

Besides her coworkers, Andrea looks condescendingly upon Southerners as well, as her attitude toward her sister and Miranda's brother-in-law's friends demonstrate.

Some readers and reviewers complained that Andrea's own snobbery makes her hard to sympathize with. While this is perhaps so, it makes Andrea's apparent triumph at the end of the novel something of a hollow victory, much like the final scene of the 1988 film Working Girl, layered with dramatic irony, in that she has settled, at least temporarily, for working for publications much more middlebrow than her original ambition of making it to The New Yorker.

An interesting sub-theme is the tenuousness of Jewish American social identity amid widespread cultural assimilation in the early 21st century.

Andrea speaks only Hebrew in addition to English. She identifies herself and her family as Jewish but only once. Otherwise, the Sachses are stereotypically WASPy, living in Avon, Connecticut, worshipping The New Yorker, and playing Scrabble for relaxation. Significantly, the only sign of secular Jewish culture present in their household is the dinner of bagels, lox and latkes Andrea's mother orders the night before Thanksgiving, the American holiday closely linked with the Mayflower Pilgrims, English Protestants from whom direct descent was long a guarantee of a social status that American Jews could never attain. We never see the Sachses celebrating any of the traditional Jewish holidays. It hardly comes as a surprise that Jill has gone native after her marriage and move to Texas.

Miranda has gone even further in rejecting her Jewish origins, Andrea learns via a Google search, by changing her name to distance herself from an Orthodox background in the East End, where her father spent his days studying religious texts and was supported by the community. At one point, Andrea evokes this background when she considers leaving Miranda's office by walking backwards, likening it to the way observant Jews are supposed to leave the Wailing Wall.

In addition to the United States, the book is sold in Albania, Australia, Belgium, Brazil, Bulgaria, Canada, China, Croatia, Denmark, Finland, France, Germany, Greece, Hungary, Indonesia, Israel, Italy, Japan, Korea, Latvia, Lithuania, Malaysia, México, the Netherlands, Poland, Portugal, Romania, Russia, Serbia, Singapore, Spain, Sweden, Taiwan, Thailand, Turkey, the United Kingdom and Vietnam.

The film version was released on June 30, 2006 by 20th Century Fox. It was produced by Wendy Finerman (Forrest Gump), freely adapted for the screen by Aline Brosh McKenna and directed by David Frankel. Anne Hathaway played Andrea, Meryl Streep earned critical praise and a Golden Globe as Miranda, and Emily Blunt played Emily.

Production took place during fall 2005, on location in New York and Paris. Weisberger herself made a very brief non-speaking cameo appearance as the twins' nanny.

It was very successful, taking in over $300 million worldwide, making it the highest-grossing film for both lead actresses. In September Weisberger and Frankel jointly accepted the first-ever Quill Variety Blockbuster Book to Film Award.

On October 12, 2006, Fox Television Network announced that they have acquired the rights to a sitcom version of the series based on the book, which would have started airing in 2007. However the project was not picked up by FOX after they announced their 2007-2008 television season schedule in May 2007 and there is no word on whether this adaptation will go forward.

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PRADA (phone)

Prada Phone is released by LG Electronics in 2Q of 2007. SB310 is a Korean version,L852i is a Japanese version of KE850.

LG later claimed that Apple stole both the ideas and concept of the Prada phone. A lawsuit by LG had been rumored prior to this announcement; however, LG has remained silent on whether or not they will file a lawsuit.

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Jungle Prada Site

Jungle Prada Site is located in Florida

The Jungle Prada Site (also known as Narvarez Site or Anderson Site or Jungle Mound) is a historic site in St. Petersburg, Florida. It is reputedly the landing site of the Spanish explorer Panfilo de Narvaez's Florida expedition. It is located at Park Street North and Elbow Lane (17th Avenue), near the eastern shore of Boca Ciega Bay. The City of St. Petersburg maintains a park there. On February 4, 2003, it was added to the U.S. National Register of Historic Places.

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Source : Wikipedia