The awards stage became a moment of affectionate self-reference when Anna Wintour and Anne Hathaway presented two technical Oscars together. The pair introduced the prizes for Best Costume Design and Best Makeup and Hairstyling, and during that brief exchange the fashion icon leaned into the persona immortalised by Meryl Streep’s Miranda Priestly. The playful beat — sunglasses, an intentionally frosty delivery and a cheeky name mix-up — read like a wink to film fans and fashion-world insiders alike, producing one of the evening’s lighter, camp-inflected highlights.
Onstage choreography: a wink to a cinematic archetype
While discussing the importance of costume on screen, Anne Hathaway turned to Wintour and asked for a comment about her look, effectively inviting fashion commentary. Instead of answering, Wintour adopted a characteristic, aloof cadence, put on her signature shades and moved directly to the nominees, prompting audible laughter. Later, when Hathaway offered for Wintour to read another category, the veteran editor responded by calling her “Emily,” a deliberate nod to the character Emily Charlton from the original film. That slip — or intentional misnaming — was received as a comic payoff rather than a slight, and it underscored how the film’s mythology and the real-world fashion hierarchy continue to playfully overlap.
The awards and winners
The night’s winners in the categories the pair presented were dominated by the gothic-leaning production Frankenstein. The Oscar for Best Costume Design went to Kate Hawley for her period and theatrical work, while the Best Makeup and Hairstyling statuettes were awarded to Mike Hill, Jordan Samuel and Cliona Furey. The tangible results — winners, applause, and the familiar frenzy of red carpet commentary — framed Wintour’s brief comedy as a topical aside rather than the story of the night, but it nonetheless became one of the most widely shared moments on social platforms.
Why the joke landed: legacy, character and context
The original 2006 film, based on Lauren Weisberger’s novel, turned a fashion-world insider story into a cultural touchstone and has long been associated with Wintour’s public persona. That connection is part of why the exchange resonated: it felt like a mutual acknowledgement between a real-life figure and a fictionalised emblem of editorial authority. Social media and entertainment outlets quickly framed the interaction as a campy comeback of Miranda Priestly, especially since a sequel — The Devil Wears Prada 2 — is poised to bring back several principal players. Fans who worried about changes to Miranda’s edge after early trailer releases have been reassured by later promotional material that the character’s sharpness remains intact.
Trailer vibes and fan reaction
Initial footage for the sequel prompted speculation about Miranda’s state of mind, with some viewers offering speculative reads on whether the character had undergone a softening or a health event. More recent trailers have reasserted her signature ruthlessness and reminded viewers of the film’s satirical bite. With returns confirmed from Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci, the sequel promises to revisit the hierarchical dynamics that made the first movie a reference point for workplace satire and fashion commentary.
Marketing touches and release information
Marketing tie-ins have leaned into the film’s sense of stylish excess. One notable example is an exclusive popcorn container shaped like a red leather high-fashion tote appearing at selected theatres; it features dual handles, gold-toned hardware, a miniature high heel charm and a small hotel-style key tag, and is intended to hold a large serving. These playful items amplify the film’s blend of glamour and tongue-in-cheek spectacle. The sequel, The Devil Wears Prada 2, is scheduled for release on May 1, 2026, and the onstage moment between Wintour and Hathaway functioned as both a comic callback and an informal reminder that the franchise is reclaiming its place in pop-culture conversation.
Ultimately, the Oscars exchange was short, well-timed and affectionate — a fusion of industry in-jokes and promotional momentum. It demonstrated how a single, well-delivered aside can ripple through press coverage and social feeds, reconnecting contemporary audiences with a film world that blends satire, glamour and memorable characters. Whether viewed as a cameo of persona, a strategic nod to a sequel or simply a funny bit of stagecraft, the moment crystallised how enduring certain cultural images remain in the intersection of fashion and film.