Vanessa Williams, radiant and smiling, sits comfortably in a London hotel, a vision that might surprise those familiar with her iconic, often formidable, on-screen personas. She’s a performer who consistently defies expectations, a quality that has defined her remarkable career.
Her groundbreaking journey began in 1983 when she became the first Black Miss America. This victory, however, was shadowed by controversy and a forced resignation following the unauthorized publication of private photographs. Undeterred, Williams channeled her resilience into a flourishing music career, achieving widespread recognition with the enduring hit, “Save the Best for Last.”
She then captivated audiences as Wilhelmina Slater, the deliciously ruthless creative director of *Mode* magazine in *Ugly Betty*. The show, ahead of its time, celebrated Latino and LGBTQ+ communities and boldly challenged conventional beauty standards. Fifteen years later, Williams still fondly recalls the show’s audacious storylines.
“We were shocked all the time!” she laughs, remembering the episode involving Wilhelmina’s unconventional plan to secure ownership of the media organization. “It was so crazy and delicious,” she admits, praising the show’s “incredible writing team” for consistently pushing boundaries. She vividly remembers scenes – Wilhelmina attacking mannequins with a baseball bat, playful interactions with characters on the street – each moment a testament to the show’s unique blend of humor and drama.
Williams masterfully imbued Wilhelmina with a surprising depth, creating a character viewers simultaneously loved to hate and couldn’t help but empathize with. She achieved this by focusing on the character’s perpetual longing – her unfulfilled ambition to become editor-in-chief. “Not getting a desire isn’t always a bad thing,” she reflects, “Sometimes what you think you want isn’t what you really need.”
This philosophy resonates with her own life, particularly her long-awaited West End debut. Years after dreaming of performing on a London stage as a young theatre student, and a near miss with *City of Angels* due to the pandemic, she finally landed the role of Miranda Priestly in *The Devil Wears Prada* in 2024. “It’s been amazing. I feel like I’ve arrived,” she shares with genuine joy.
The production has been a resounding success, and Williams has relished collaborating with Sir Elton John, who composed the show’s music. He describes her as “warm” and a “legend,” and already envisions a Broadway transfer and a Tony Award in her future. Despite her enthusiasm, she playfully admits to a few onstage frustrations.
“Phones drive us crazy, and the coughing!” she exclaims with a giggle. “If you don’t have a sweet to suck on, please leave.” She cleverly uses these distractions to enhance her performance, channeling her annoyance into the character’s signature icy demeanor. Her affection for the UK is undeniable, and she hopes to make it her home even after the final curtain call, pursuing television, film, and her own music.
Interestingly, many in the UK recognize her not for her stage or screen work, but for a 1990s Bisto gravy advertisement featuring “Save the Last Dance.” She’s now fully immersed in the British obsession with Sunday roast, passionately discussing the merits of beef, pork, lamb, and her personal favorite – roast chicken. “I have not found the perfect roast yet,” she confesses, “I’ve tried many places.”
Reflecting on beauty, 42 years after winning Miss America, Williams offers a powerful perspective. “I am happy to be 62 and still look like myself,” she states firmly. “There are a lot of people my age who’ve had so much work done that they’re unrecognisable.” She prioritizes self-care and embraces aging gracefully, finding true beauty in her family – her four children and growing number of grandchildren.
Her recent honor of switching on the Oxford Street Christmas lights, a tradition reserved for beloved stars, solidifies her status as an honorary Brit. Vanessa Williams’ story is one of resilience, talent, and a remarkable ability to redefine expectations, leaving an indelible mark on both stage and screen.
