Anne Hathaway Urged ‘Devil Wears Prada 2’ Team to Cast Size-Inclusive Models, Saying ‘All Different Shapes Are Beautiful’
Photo Credit: Fox
by Chris Tremblay Apr 26
5 MIN READ
Anne Hathaway has revealed that she personally asked “The Devil Wears Prada 2” producers to broaden the body diversity of models featured in the film’s runway sequence, saying she wanted audiences to see that “all different shapes are beautiful.” Speaking at the movie’s worldwide premiere in New York City, the Oscar winner said she noticed that many of the models initially booked were “more traditionally model-sized” and felt the scene would be stronger if it showcased a wider range of bodies.
In an interview on the red carpet, Hathaway explained that the decision to speak up came from wanting the film to reflect a more inclusive vision of beauty that aligns with current conversations in fashion. She told Canadian outlet Etalk that she saw “a lot of traditionally sized models” on set and felt compelled to act because she views the sequel as a movie “for everyone” and believes that “everybody feels included” when beauty standards are more expansive.
Hathaway said her intervention was straightforward: she approached the film’s producers and asked whether the sequence could feature a more inclusive range of sizes, framing the request as a creative question about what would make the scene more enjoyable and resonant for viewers. According to her accounts in Etalk and Variety interviews, the producers responded with what she described as humility, saying they were “embarrassed” they had not noticed the lack of size diversity and quickly moved to adjust the casting.
Hathaway recounted that, after the conversation, new models were brought in within a matter of hours, significantly changing the look and feel of the runway crowd for the scene. She described the swift response as something that “made happy” and emphasized that sometimes meaningful change on set “begins with the question” when actors use their influence to raise concerns respectfully.
The story of Hathaway’s advocacy first reached a wider audience in March, when Meryl Streep shared details of the incident in an interview with Harper’s Bazaar. Streep said she had been “struck” by how “alarmingly thin” some of the models on set appeared and added that she had assumed such extreme runway thinness had been addressed by the industry “years ago,” only to realize it remained an issue.
According to Streep, Hathaway “clocked it too” and immediately approached producers to secure a commitment that the models in the film’s fashion show sequence “would not be so skeletal,” a move Streep praised as the action of a “stand-up girl.” Streep’s comments framed Hathaway’s intervention as both a creative decision and a values-driven one, aligning with broader pushback against extremely restrictive beauty standards in fashion and entertainment.
“The Devil Wears Prada 2,” scheduled to arrive in theaters on May 1, 2026, revisits the fashion-media world two decades after the original film while introducing a new generation of characters and industry dynamics. The production has leaned into a larger scale than its predecessor, including filming some sequences during live runway shows at Milan Fashion Week, a choice that places the sequel more directly inside today’s global fashion ecosystem.
Variety reports that, as with many modern sequels, the new film features a more visibly diverse cast than the 2006 original, adding performers such as Lucy Liu and “Bridgerton” actor Simone Ashley to the ensemble. Ashley has said she feels “honored” to join a project that, in her view, aims to represent women “in a real way,” a framing that resonates with the production’s emphasis on more inclusive casting both on the runway and in speaking roles.
Among the new faces is Helen J. Shen, a 26-year-old Chinese American actor who plays the latest assistant to Streep’s character, Miranda Priestly. Shen credited Hathaway with “leading by osmosis” on set and said she was encouraged by the star’s decision to speak up about body diversity, linking it to a more inclusive atmosphere across the production.
Shen told Variety that, looking back 20 years, she doubted she would have been cast in a film like the original “The Devil Wears Prada,” underscoring how representation in fashion stories has shifted over time. She added that she hopes people who have felt that fashion offices or high-fashion spaces are not for them will feel more welcomed by seeing a broader range of identities and body types reflected on screen.
Hathaway’s comments emphasize a belief that body diversity is not only an ethical or representational concern but also a storytelling choice that affects how audiences experience a scene. She told Variety that she thought the fashion show sequence “would be so much more enjoyable for the audience” if the production displayed “a wider range of bodies,” connecting inclusion to the emotional impact and relatability of the film.
In her Etalk remarks, Hathaway also referenced ways the fashion industry has moved toward more inclusive beauty standards “in the last few years,” saying she believes people are “kind of happier when it’s like that, when everybody feels included.” Her framing positions size-inclusive casting as part of a broader shift in how fashion and media portray bodies, one that intersects with ongoing conversations about representation of women, LGBTQ+ people, and other historically marginalized groups in visual culture.
Early clips and interviews from “The Devil Wears Prada 2” premiere have prompted discussion on social media and entertainment platforms about the sequel’s approach to inclusion, including both its casting choices and its depiction of fashion spaces. Some commentators have connected Hathaway’s intervention on size diversity with broader calls for more inclusive casting that better reflects the diverse audiences who engage with mainstream fashion narratives.
Red carpet interviews posted online show Hathaway and other cast members fielding questions about how the sequel updates the original film’s dynamics, including conversations about work culture, power, and representation. While full critical reviews are still emerging ahead of the May 1 theatrical release, the cast’s public focus on diversity—across body size, ethnicity, and character perspective—positions the film as part of a broader entertainment trend toward more inclusive storytelling in established franchises.
Hathaway’s account of the incident underscores how actors with significant influence can use their positions to nudge large productions toward more inclusive practices, whether in background casting or in headline roles. She described producers as initially “locked in” and “going with the flow,” suggesting that raising the issue prompted them to reconsider default choices that might otherwise have gone unchallenged.
For cast members like Shen, Hathaway’s willingness to speak up became an example of leadership that shaped not just a single scene, but the tone of the production overall. Within the wider industry, such decisions are often watched closely by filmmakers, performers, and fans who hope large studio projects will mirror the diversity of the communities they serve, including people of different sizes, races, genders, and sexual orientations.
Two decades after the original “The Devil Wears Prada” became a cultural touchstone, the sequel arrives in a markedly different media landscape, where representation and inclusion have become central topics in both fashion and film. The decision to foreground stories about body diversity and to cast a more varied ensemble suggests the franchise is attempting to evolve alongside its audience, which now includes younger viewers for whom inclusivity is often a baseline expectation rather than an added bonus.
For Hathaway, that evolution is reflected not only in the narrative arcs of returning characters but also in the practical choices that shape what audiences see on screen, such as who appears on the runway and how their bodies are framed. Her call for size-inclusive casting contributes to a broader cultural push to ensure that fashion-centered stories—and the industries they depict—offer space for people of many body types and identities to feel seen, valued, and beautiful.
What Hathaway asked for — and how producers responded
Hathaway said her intervention was straightforward: she approached the film’s producers and asked whether the sequence could feature a more inclusive range of sizes, framing the request as a creative question about what would make the scene more enjoyable and resonant for viewers. According to her accounts in Etalk and Variety interviews, the producers responded with what she described as humility, saying they were “embarrassed” they had not noticed the lack of size diversity and quickly moved to adjust the casting.
Hathaway recounted that, after the conversation, new models were brought in within a matter of hours, significantly changing the look and feel of the runway crowd for the scene. She described the swift response as something that “made happy” and emphasized that sometimes meaningful change on set “begins with the question” when actors use their influence to raise concerns respectfully.
Meryl Streep’s praise and earlier disclosure
The story of Hathaway’s advocacy first reached a wider audience in March, when Meryl Streep shared details of the incident in an interview with Harper’s Bazaar. Streep said she had been “struck” by how “alarmingly thin” some of the models on set appeared and added that she had assumed such extreme runway thinness had been addressed by the industry “years ago,” only to realize it remained an issue.
According to Streep, Hathaway “clocked it too” and immediately approached producers to secure a commitment that the models in the film’s fashion show sequence “would not be so skeletal,” a move Streep praised as the action of a “stand-up girl.” Streep’s comments framed Hathaway’s intervention as both a creative decision and a values-driven one, aligning with broader pushback against extremely restrictive beauty standards in fashion and entertainment.
A sequel shaped by changing standards
“The Devil Wears Prada 2,” scheduled to arrive in theaters on May 1, 2026, revisits the fashion-media world two decades after the original film while introducing a new generation of characters and industry dynamics. The production has leaned into a larger scale than its predecessor, including filming some sequences during live runway shows at Milan Fashion Week, a choice that places the sequel more directly inside today’s global fashion ecosystem.
Variety reports that, as with many modern sequels, the new film features a more visibly diverse cast than the 2006 original, adding performers such as Lucy Liu and “Bridgerton” actor Simone Ashley to the ensemble. Ashley has said she feels “honored” to join a project that, in her view, aims to represent women “in a real way,” a framing that resonates with the production’s emphasis on more inclusive casting both on the runway and in speaking roles.
New cast members reflect broader inclusion efforts
Among the new faces is Helen J. Shen, a 26-year-old Chinese American actor who plays the latest assistant to Streep’s character, Miranda Priestly. Shen credited Hathaway with “leading by osmosis” on set and said she was encouraged by the star’s decision to speak up about body diversity, linking it to a more inclusive atmosphere across the production.
Shen told Variety that, looking back 20 years, she doubted she would have been cast in a film like the original “The Devil Wears Prada,” underscoring how representation in fashion stories has shifted over time. She added that she hopes people who have felt that fashion offices or high-fashion spaces are not for them will feel more welcomed by seeing a broader range of identities and body types reflected on screen.
Body diversity, audience connection, and cultural context
Hathaway’s comments emphasize a belief that body diversity is not only an ethical or representational concern but also a storytelling choice that affects how audiences experience a scene. She told Variety that she thought the fashion show sequence “would be so much more enjoyable for the audience” if the production displayed “a wider range of bodies,” connecting inclusion to the emotional impact and relatability of the film.
In her Etalk remarks, Hathaway also referenced ways the fashion industry has moved toward more inclusive beauty standards “in the last few years,” saying she believes people are “kind of happier when it’s like that, when everybody feels included.” Her framing positions size-inclusive casting as part of a broader shift in how fashion and media portray bodies, one that intersects with ongoing conversations about representation of women, LGBTQ+ people, and other historically marginalized groups in visual culture.
Responses from fans and industry observers
Early clips and interviews from “The Devil Wears Prada 2” premiere have prompted discussion on social media and entertainment platforms about the sequel’s approach to inclusion, including both its casting choices and its depiction of fashion spaces. Some commentators have connected Hathaway’s intervention on size diversity with broader calls for more inclusive casting that better reflects the diverse audiences who engage with mainstream fashion narratives.
Red carpet interviews posted online show Hathaway and other cast members fielding questions about how the sequel updates the original film’s dynamics, including conversations about work culture, power, and representation. While full critical reviews are still emerging ahead of the May 1 theatrical release, the cast’s public focus on diversity—across body size, ethnicity, and character perspective—positions the film as part of a broader entertainment trend toward more inclusive storytelling in established franchises.
The power of on‑set advocacy
Hathaway’s account of the incident underscores how actors with significant influence can use their positions to nudge large productions toward more inclusive practices, whether in background casting or in headline roles. She described producers as initially “locked in” and “going with the flow,” suggesting that raising the issue prompted them to reconsider default choices that might otherwise have gone unchallenged.
For cast members like Shen, Hathaway’s willingness to speak up became an example of leadership that shaped not just a single scene, but the tone of the production overall. Within the wider industry, such decisions are often watched closely by filmmakers, performers, and fans who hope large studio projects will mirror the diversity of the communities they serve, including people of different sizes, races, genders, and sexual orientations.
A franchise evolving with its audience
Two decades after the original “The Devil Wears Prada” became a cultural touchstone, the sequel arrives in a markedly different media landscape, where representation and inclusion have become central topics in both fashion and film. The decision to foreground stories about body diversity and to cast a more varied ensemble suggests the franchise is attempting to evolve alongside its audience, which now includes younger viewers for whom inclusivity is often a baseline expectation rather than an added bonus.
For Hathaway, that evolution is reflected not only in the narrative arcs of returning characters but also in the practical choices that shape what audiences see on screen, such as who appears on the runway and how their bodies are framed. Her call for size-inclusive casting contributes to a broader cultural push to ensure that fashion-centered stories—and the industries they depict—offer space for people of many body types and identities to feel seen, valued, and beautiful.
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