Kay Thompson (author of the Eloise
book series) used her as a muse in her portrayal of a fashion editor in Audrey Hepburn's "Funny Face
". She shaped the look of magazines like American Vogue and Harper's Bazaar (where ex-assistant actress Ali McGraw worked and described the experience). She made the costume department at the Metropolitan Museum of Art a landmark of fashion.Diana Vreeland's grandaughter, director Lisa Immordino Vreeland painstakingly researched her grandmother-in-law's life from the Belle Epoque, roaring 20's to swinging 60's. She was the pioneering mix of High/Low culture, blending street jargon with eloquent sophistication. Anecdotes in the film are recalled by everyone from Diane Sawyer to Andy Warhol. The director worked with the editing team behind Valentino: the Last Emperor, Bent-Jorgen Perlmutt and Frédéric Tcheng.
"Style-- all who have it share one thing: originality."
-Diana Vreeland
The editor in her apartment, which she wanted to look like “a garden in hell.” ((c) Estate of Horst P. Horst-Art + Commerce / Courtesy of Samuel Goldwyn Films)
"). 
” 1957, buyer Lee Hacket comments on a dress, “Do notice the movement in the back. It really talks. Back talk is terribly important this season.””My favorite line of course is from “Funny Face” fashion editor Maggie Prescott (rumored to be based on Diana Vreeland). “You’re in the fashion world. We’re cold, artificial and without sentiment. How can you be in love?” It always gets the most laughs among the fashionista crowd.
(1994). Panned by critics, it received a lukewarm reception by the garment industry itself. A few designers like Jean-Paul Gaultier and Issey Miyake allowed the cameras in, but the general attitude was that outsiders never did the garment industry justice.
(2006) was a great showcase for Meryl Streep, but beside the great (but not realistic outfits) did anyone get a real sense of working at a fashion publication? The September Issue with the real Anna Wintour took care of that. 
!” This was before reality shows and Project Runway. Mizrahi showed the angst, unglamorous details and diva attitudes that lead up to the fashion week show. That runway was the perfect metaphor for the movie. The audience saw all of the backstage action behind a transparent scrim. I myself was on the other side of that scrim, dressing the models. You can see a tiny confused face for a second in between Isaac and Linda Evangelista’s argument. 
was probably the latest movie to earn the distaste of style makers. It showed that while many designers are happy for press, they ultimately need to control how they want to be seen. 
