I have few stronger opinions about movie characters than my view that Miranda Priestly, the demanding fashion magazine boss in The Devil Wears Prada, is actually the hero of the movie – not an uncomplicated heroine, certainly not a nice person, but a figure to be celebrated nonetheless: a demanding, uncompromising aesthete whose decisions ripple through the wider culture, whose idiosyncratic taste can affect the palette of the world.

In one of the movie’s famous set pieces, Miranda explains how her assistant’s cheap blue – sorry, cerulean – sweater is actually “a sweater that was selected for you by the people in this room”, the bargain-basement endpoint of a complex aesthetic-commercial process that starts with a single brilliant idea.