Table of Contents

1. Key Highlights
2. Introduction
3. How the Auction Came Together
4. The Lots: Standouts, Designers and Estimates
5. Why These Pieces Matter: Film Narrative, Design Collaboration and Provenance
6. Charitable Impact: CPJ, CFDA and the Causes Behind the Sale
7. Exhibition, Events and How to Participate
8. The Market for Film Fashion: Trends, Valuation and Buyer Profiles
9. Conservation, Display and Long-Term Care for Film Garments
10. Practical Guide: Bidding Strategies, Authentication and What to Watch For
11. What Collectors Should Expect: Valuation, Resale and Cultural Value
12. The Broader Context: Film, Fashion and Philanthropy
13. What This Means for Fans and the Fashion Industry
14. FAQ

Key Highlights

• Christie’s will host an online auction of costumes and accessories from The Devil Wears Prada 2 (Sept. 1–15), with a public exhibition in New York (Sept. 8–13) and a live, invitation-only charity auction on Sept. 10 during New York Fashion Week. Proceeds benefit the Committee to Protect Journalists (CPJ) and the CFDA/Vogue Fashion Fund via the CFDA Foundation.
• Headline lots include Anne Hathaway’s Gabriela Hearst Niki dress (offered with the film stain), Meryl Streep’s Dries Van Noten tassel jacket, Lady Gaga’s Bad Binch TongTong gown, an Elsa Peretti cuff worn by Emily Blunt, and signed prototype Valentino pumps; estimates range from modest to high, reflecting provenance, designer pedigree, and screen association.

Introduction

The announcement that Christie’s will auction wardrobe and accessories from The Devil Wears Prada 2 transforms on-screen fashion into tangible, collectible objects. For fans of the film, collectors of costume history, and philanthropists seeking to tie appetite for culture to social impact, the sale offers a rare intersection: iconic designer garments, celebrity provenance and a chance to support journalism and emerging fashion talent.

This auction brings pieces worn by Meryl Streep, Anne Hathaway, Emily Blunt, Stanley Tucci, Simon Ashley and Lady Gaga to the marketplace. Items will be available online over two weeks, previewed in a free exhibition at Christie’s Rockefeller Plaza and spotlighted at a live event during New York Fashion Week. Beyond the spectacle, the auction illuminates how provenance, designer collaboration and narrative context shape the modern market for film fashion.

How the Auction Came Together

The current auction follows a practice established by studios, costume houses and auction houses: repurpose film wardrobe as cultural artifacts and fundraising vehicles. This particular sale has roots in the goodwill generated after the first film’s release: Meryl Streep previously led efforts to auction costumes for charity, and here she has supported a second consolidated sale tied to The Devil Wears Prada 2.

Christie’s assembled the lots in collaboration with the film’s producers, designers and the CFDA and CPJ. The rollout is layered: an online auction at christies.com running Sept. 1–15, a free physical exhibition Sept. 8–13 at Christie’s New York, and a live charity auction by invitation on Sept. 10 that coincides with New York Fashion Week’s calendar. The live event will auction select fashion pieces and film-inspired experiences to benefit CPJ and the CFDA/Vogue Fashion Fund through the CFDA Foundation Inc. Rachel Koffsky Parker, Christie’s International Head of Handbags, will serve as charity auctioneer at the live event.

Several forces align in this structure. The online auction opens the field to global bidders and collectors who want the convenience of participating remotely. The exhibition gives prospective buyers and fans tactile contact with the garments—critical for garments whose value often depends on detail, condition and authenticity. The live event leverages the presence of industry patrons and influencers during New York Fashion Week, a high-profile moment that historically draws deep-pocketed bidders and press exposure.

Christie’s curated the selection to represent both show-stopping couture and more accessible, culturally resonant pieces. That mix broadens potential bidder pools: some lots will attract museum curators and blue-chip collectors; others will appeal to fans and fashion enthusiasts who want a piece of film history.

The Lots: Standouts, Designers and Estimates

The auctioned pieces map the film’s stylistic range, from high couture to accessible brand pieces that became iconic through screen adoption. Understanding the catalogue requires reading both the designer labels and the screen context.

Notable lots and their estimates:

• Gabriela Hearst Niki dress (worn by Anne Hathaway’s Andy Sachs; includes the on-screen stain): $3,000–$4,000. The dress’s inclusion of a visible stain turns a flaw into a provenance marker; it ties the object to a specific narrative moment, and for some collectors, that makes it more desirable.
• Dries Van Noten tassel jacket (worn by Meryl Streep’s Miranda Priestly during a Runway staff meeting): $4,000–$6,000. Dries Van Noten’s reputation for luxurious textiles and distinctive detailing makes this jacket a natural centerpiece.
• Schiaparelli black-and-white jacket (worn by Streep): $4,000–$6,000. Schiaparelli’s historical cachet reinforces the jacket’s collector appeal.
• Dolce & Gabbana three-piece suit with cheetah neck scarf (worn by Stanley Tucci): $2,000–$3,000. Men’s tailoring with a pedigree label and screen association.
• Bad Binch TongTong by Terrence Zhou feature dress (worn by Lady Gaga in the “Runway” music video with Doechii): $3,000–$4,000. A pop-culture crossover lot—part music video, part film tie-in—this gown has broad appeal.
• White draped minidress and white knee-high boots (Elie Saab and Maison Skorpios; worn by Lucy Liu): $2,000–$3,000. Haute couture and costume collaboration highlight runway-to-screen translation.
• Cerulean J.Crew sweater (a nod to the original film’s moment that embedded “cerulean” into fashion lore): $100–$200. An intentionally modest estimate signals accessibility and the cultural continuity of the franchise.
• Elsa Peretti bone cuff (worn by Emily Blunt): retail value cited at $107,000. Jewelry from a renowned designer like Elsa Peretti provides a rare, high-value accessory for collectors who are jewelry-minded.
• Prototype red Valentino Garavani Rocketed pumps (worn by Streep in the film’s trailer; to be signed by Meryl Streep): $500–$1,000 estimate. Signed provenance and the visual drama of red pumps make the pair emblematic of the film’s fashion iconography.

The catalogue blends couture, ready-to-wear, jewelry and accessories. Each lot’s estimate reflects multiple variables: label recognition, screen time (how prominently the item appears in scene or marketing material), condition, whether the item is a one-off or prototype, and whether it carries an audio-visual tie (like a music video appearance).

Including a stain or visible wear is counterintuitive to traditional resale logic, but in the costume-auction market such marks often bolster authenticity. A dress altered for scene action or visibly affected by filming becomes irrefutably tied to the narrative. For that reason the Gabriela Hearst Niki dress—offered with the stain—may draw collectors who prioritize provenance over pristine condition.

Why These Pieces Matter: Film Narrative, Design Collaboration and Provenance

Costumes in film do more than clothe actors; they anchor character, make narrative statements and extend a film’s cultural life beyond the screen. In The Devil Wears Prada genre, wardrobe is a language that signals taste hierarchies, professional identity and power dynamics. Miranda Priestly’s wardrobe signals authority through cut, label and restraint; Andy Sachs’s wardrobe maps transformation and assimilation.

Design houses consulted on the film benefit from associative branding. When a character wears a Dries Van Noten jacket on camera, the designer receives cultural capital that translates into showroom interest and runway relevance. The auction, therefore, is not merely a liquidation. It’s a secondary market for brand storytelling—buyers purchase both garment and narrative.

Provenance magnifies value. Items directly tied to a memorable scene, costume designer note, or a specific actor’s performance acquire collectible status. That logic explains why the auction tournament features both couture and modest items: even a J.Crew cerulean sweater carries fan value because of the film’s cultural memes.

Design collaborations can also create unique artefacts. The Bad Binch gown by Terrence Zhou for Lady Gaga’s “Runway” appearance is an example where a music and film tie-in created a cross-genre artifact. Such pieces attract different buyer segments—music memorabilia collectors as well as film costume connoisseurs.

Public figures and celebrity endorsements increase salability and price. Meryl Streep’s involvement—both in supporting the auction and signing items—acts as a stamp of authenticity and marketability. Signed garments typically command premiums, and a signature connects a private collector to public cultural history.

Charitable Impact: CPJ, CFDA and the Causes Behind the Sale

This auction channels proceeds to two organizations whose missions align thematically with the film’s core concerns: fashion and the role of journalism in public life.

Committee to Protect Journalists (CPJ) CPJ defends press freedom and protects journalists worldwide. In the words of CPJ’s CEO Jodie Ginsberg, quoted by Christie’s: “The need to defend press freedom has never been more urgent. CPJ is honored to join forces with partners in the creative industry to spotlight the indispensable role journalists play in holding power to account and keeping the public informed. We are thankful for this partnership and special auction, which will have a critical, life-saving impact for many journalists globally.”

A donation to CPJ supports legal assistance, safety training, and emergency support for journalists under threat. The choice of CPJ as a beneficiary ties the auction to a narrative beyond glamor: it recognizes journalism’s function and frames the sale as activism through culture.

CFDA and CFDA/Vogue Fashion Fund The CFDA’s mission to support American fashion talent informs the auction’s other beneficiary, the CFDA Foundation Inc., earmarked for the CFDA/Vogue Fashion Fund. Steven Kolb, CEO and president of the CFDA, described the auction as a way for bidders to “share the excitement and energy of this terrific depiction of the fashion industry all while contributing to important causes that play a starring role in the film’s narrative — fashion and journalism.”

The CFDA/Vogue Fashion Fund provides mentorship, business grants and visibility to emerging designers. Funds from charity auctions like this one underwrite mentorship programs, provide seed capital and help designers scale production and distribution. The partnership effectively recirculates capital from a Hollywood spectacle back into the fashion ecosystem.

Philanthropic auctions achieve two goals simultaneously: they monetize cultural artifacts and create publicity that often drives higher bids. The live auction element—hosted amid New York Fashion Week—maximizes fundraising potential by assembling donors in a high-energy environment.

Exhibition, Events and How to Participate

Timeline and locations:

• Online Auction: christies.com, Sept. 1–15. The online format allows global participation and typically features lot images, condition reports and provenance statements.
• Public Exhibition: Christie’s New York at 20 Rockefeller Plaza, free to the public, Sept. 8–13. The exhibition runs alongside “Handbags Online: The September Edit,” a separate luxury handbag auction that broadens foot traffic and cross-interest from collectors.
• Live Charity Auction: Christie’s New York, Sept. 10, invitation-only, during New York Fashion Week. This live event will auction selected pieces and film-inspired luxury experiences; Rachel Koffsky Parker will serve as charity auctioneer.

How to bid

• Register on Christie’s platform to participate in the online auction. Registration typically requires identification and a payment method; high-value lots may require verified accounts or deposits.
• Inspect condition reports. Christie’s posts condition reports for each lot; prospective bidders should read these thoroughly and review exhibition photos and in-person previews if possible.
• Set a bidding strategy. Decide in advance a maximum bid limit that includes buyer’s premiums, taxes and potential shipping and insurance.
• For the live auction, registration and invitation are required. Keep in mind that live auctions feature fast pacing and create competitive pressure.

Viewing in person Seeing a garment in person remains invaluable. Fit, textile luster, hand-stitched details and alterations are often less visible in photos. The Rockefeller Plaza exhibition window will let enthusiasts and buyers inspect seams, label tags and wear marks that influence final bids.

Buyer’s experience post-sale

• Payment and collection instructions will be provided by Christie’s. High-value lots may have specific pickup windows or shipping arrangements.
• Insurance and shipping are typically buyer responsibilities, though Christie’s can arrange logistics through partnered shippers.
• International buyers should review customs and export/import requirements for textiles and jewelry.

The Market for Film Fashion: Trends, Valuation and Buyer Profiles

Film costume auctions occupy a unique niche overlapping fashion, entertainment memorabilia and museum collecting. Market behavior in this niche has shown several consistent trends.

What drives value

• Provenance: Screen appearance, credited costume designers, and actor association are primary value multipliers.
• Designer pedigree: High-fashion labels or couture houses that created or loaned pieces elevate desirability and valuation.
• Rarity and uniqueness: One-of-a-kind pieces, prototypes or garments made specifically for a production often command premiums.
• Condition: Ironically, certain kinds of wear can increase value because they confirm authenticity, while structural damage can harm value.
• Cultural resonance: Items tied to moments that entered public lexicon (catchphrases, visual memes) attract broader bidding interest.

Buyer typologies

• Institutional collectors and museums: Acquire pieces for exhibitions on film, fashion or social history.
• Private collectors: Individuals who build collections focused on film, fashion, or specific stars.
• Investors: Buyers who purchase items anticipating appreciation due to rarity and brand association.
• Fans and brand loyalists: Lower-estimate items like the cerulean sweater attract this group.

Market trends

• Cross-sector auctions are on the rise: collaborations between entertainment properties and high-end auction houses create events that combine fandom and institutional collecting.
• Democratization of access: Online auctions expand the audience beyond major cities, increasing competitive pressure at price points below institutional budgets.
• Narrative valuation: Pieces with strong storylines (a dress worn during a pivotal scene, or a signed prototype) achieve higher multiples relative to their material worth.

Real-world parallels Historic film costume sales provide benchmarks. Iconic items—ranging from Dorothy’s red slippers to glamorous evening gowns worn by screen legends—have moved from private wardrobes into museums and auction catalogues, often selling for significant sums. These precedents demonstrate that costume pieces operate as both cultural relics and assets.

The Devil Wears Prada franchise has a particular advantage: fashion itself is nested within the film’s storyline, so wardrobe plays a starring role. That meta-layer—fashion about fashion—creates an intensified market appeal for garments associated with the film.

Conservation, Display and Long-Term Care for Film Garments

Purchasing a film costume is the start of a stewardship responsibility. Long-term value preservation depends on appropriate conservation and display.

Basic conservation principles

• Climate control: Stable temperature (ideally around 65–70°F / 18–21°C) and relative humidity (around 45–55%) prevent textile degradation and mold.
• Light exposure: UV and strong visible light fade dyes and weaken fibers. Display costumes under low light and use UV-filtering glass where possible.
• Acid-free storage: Use acid-free tissue, boxes and padded hangers to prevent color transfer and fabric stress.
• Pest management: Regular checks and preventive measures guard against moth and insect damage.
• Professional assessment: For valuable or fragile garments, consult a textile conservator for cleaning, stabilization and mounting techniques.

Display considerations

• Mannequin support: Properly padded mannequins distribute stress across seams; avoid using standard retail mannequins that may distort garments.
• Rotation: Long-term display should include rotated periods of exposure and rest in dark storage to minimize light damage.
• Mounting: Use non-invasive seams and supports. Never pin directly through fabric in ways that cause permanent holes.

Legal and insurance steps

• Appraisal: Obtain a formal appraisal for insurance purposes and to document provenance.
• Insurance: Insure for agreed value (replacement cost might be different from auction price), including transit and storage.
• Export/import: Check any legal requirements if shipping internationally; certain materials (ivory, endangered-sourced elements) often trigger customs and legal scrutiny.

For many institutions, acquiring film costumes also includes acquiring documentation: costume designer notes, wardrobe logs and photographs that further validate provenance and scene context. Buyers should request any available documentation during the post-sale process.

Practical Guide: Bidding Strategies, Authentication and What to Watch For

Preparing to bid on a costume requires due diligence beyond the aesthetics.

Read the lot catalogue and condition report Every Christie’s lot includes a catalogue entry and condition report. Read both carefully. The condition report will disclose repairs, stains and alterations. Remember that certain marks of wear may enhance value if they are directly tied to screen action.

Authentication and provenance

• Film stills and production photographs: Cross-reference the garment to production images and footage.
• Designer tags and wardrobe labels: Look for internal labels, costume house tags or production numbering that can corroborate authenticity.
• Chain of custody: Trace how the garment moved from the production set to the auction house. A documented chain increases confidence and long-term value.

Bidding tactics

• Decide on a maximum bid inclusive of fees: Auction houses charge buyer’s premiums, and there may be taxes or import duties.
• Try to attend the preview: In-person viewing can reveal details photos do not capture.
• Consider proxies: If you cannot bid live, Christie’s and other houses accept absentee and telephone bids; online platforms allow real-time participation.
• Watch for bidding increments: Know the house bid increments so you can gauge when to push or step back.
• Temperature of the room: Live auctions can create a bandwagon effect. Consider waiting for the final moment to place a decisive bid (sniping) if using an online platform.

Post-sale checklist

• Payment timeline and accepted methods.
• Pickup or shipping arrangements.
• Insurance and documentation transfer.

What to watch for

• Alterations that remove identifying tags or construction details.
• Incorrect attributions in catalogue text—ask for clarifications when in doubt.
• Overgraded estimates: Market interest may deviate from catalogue estimates, so conduct independent research on comparable sales and label market strength.

What Collectors Should Expect: Valuation, Resale and Cultural Value

Collectors often balance emotional value with financial prudence. Expect a range of outcomes.

Valuation trajectory Certain pieces appreciate strongly over time—especially those tied to iconic films or stars. Couture pieces by major fashion houses and jewelry by notable designers typically retain or grow in value, especially when accompanied by documentation. Lower-cost lots with strong fan appeal (a memorable dress, or a pop-culture accessory) can attract intense bidding from niche communities and sometimes exceed estimates.

Resale market Resell opportunities exist through secondary auction houses, private sales and museum deaccessioning rounds. However, illiquid markets for specialized memorabilia mean holding periods are often long. Prospective buyers should be prepared for stewardship, display and possible estate planning.

Cultural value and exhibition potential Owning a piece from a culturally impactful film offers opportunities beyond private enjoyment. Institutions and traveling exhibitions often seek loans, and collectors can gain prestige and reciprocal access through loans to museums or galleries. A well-documented costume can anchor a temporary exhibition, drive attendance and increase curatorial interest in a private collection.

The Broader Context: Film, Fashion and Philanthropy

This auction exemplifies a contemporary model where media franchises and cultural institutions convert movie artifacts into philanthropic capital. The structure—an online sale supplemented by a live fundraising event and a public exhibition—leverages multiple channels to maximize reach and philanthropic yield.

The sale also underscores fashion’s narrative power. When clothing signals character and plot, it becomes historical record as much as couture. Auction houses increasingly recognize this, and major sales now include wardrobes from television and film as part of their thematic auctions. The partnership between entertainment producers, auction houses and philanthropic entities channels cultural interest into institution-building and press protection.

The CFDA’s involvement reaffirms the auction’s positioning within fashion’s ecosystem. Proceeds directed to the CFDA/Vogue Fashion Fund will directly affect emerging designers, contributing resources that can mean the difference between an early collection and a stable business. Donating cinema wardrobe to these funds creates a circular economy: the glamour that once supported box office returns now funds the next generation of designers.

For CPJ, the funds will directly support press freedom work, which operates on-the-ground and in legal and safety assistance for journalists. The symbolic and financial tie between the auction and CPJ amplifies the film’s embedded themes about media, influence and truth.

What This Means for Fans and the Fashion Industry

For fans, the auction offers tangible access: an opportunity to own an object connected to favorite scenes and characters. For the fashion industry, it is an event that marries iconography with commerce and philanthropy. Designers whose pieces are represented receive renewed attention; younger names such as Terrence Zhou benefit from being associated with high-visibility material.

The auction also invites conversation about the afterlife of fashion in film. Costumes are not ephemeral props; they become historical artifacts that record aesthetic sensibility, social values and industry relationships at a moment in time. As auction houses continue to institutionalize film wardrobe sales, scholars, curators and market participants will refine standards for conservation, documentation and ethical disposition.

The blending of accessible lots (like the cerulean sweater) with high-value jewelry and couture ensures that the auction engages diverse buyer profiles and creates a layered narrative around the film. It democratizes access to cultural artifacts while generating meaningful philanthropic proceeds.

FAQ

Q: When and where is the auction taking place? A: The online auction runs on christies.com from Sept. 1 to Sept. 15. A free public exhibition is at Christie’s New York (20 Rockefeller Plaza) from Sept. 8 to Sept. 13. A live, invitation-only charity auction takes place at Christie’s New York on Sept. 10 during New York Fashion Week.

Q: Which organizations will benefit from the proceeds? A: Proceeds will benefit the Committee to Protect Journalists (CPJ) and the CFDA/Vogue Fashion Fund via the CFDA Foundation Inc.

Q: What are some of the headline lots? A: Highlights include Anne Hathaway’s Gabriela Hearst Niki dress (offered with its on-screen stain), Meryl Streep’s Dries Van Noten tassel jacket, Lady Gaga’s Bad Binch TongTong gown, an Elsa Peretti cuff worn by Emily Blunt, a Schiaparelli jacket worn by Meryl Streep, and prototype red Valentino Rocketed pumps to be signed by Meryl Streep. Estimates range from a modest $100–$200 for a J.Crew cerulean sweater to considerably higher figures for jewelry and couture.

Q: How can I view the items before bidding? A: Christie’s will host a free public exhibition at its New York location (20 Rockefeller Plaza) from Sept. 8–13. The online catalogue on christies.com also includes images and condition reports.

Q: How does Christie’s verify that items are authentic and were used in the film? A: Christie’s relies on provenance provided by film producers, costume departments and production records. Condition reports and production photographs/videos are used to match garments to screen appearances. Buyers should review catalogue notes and condition reports and may request additional documentation where available.

Q: Are the garments suitable for museums? A: Many of the auctioned garments are museum-appropriate, but museums typically require thorough conservation documentation, condition reports, and sometimes additional provenance. If planning to loan to an institution, secure professional appraisals and conservation advice.

Q: What should I consider when bidding on a costume? A: Review the condition report, provenance and production images. Factor in buyer’s premium, taxes, shipping and insurance when setting a bid limit. If bidding on high-value lots, request additional documentation and consider a textile conservator’s consultation.

Q: Will any items be signed by the actors? A: The prototype Valentino Rocketed pumps are to be signed by Meryl Streep. Signed items often command higher prices.

Q: Can international buyers participate? A: Yes. Christie’s online platform allows international bidders. Be aware of customs regulations, possible export licenses (for certain materials), and import duties. Arrange shipping and insurance in advance.

Q: How will proceeds be allocated between the beneficiaries? A: The auction announcement indicates proceeds will benefit CPJ and the CFDA/Vogue Fashion Fund via the CFDA Foundation Inc. Specific allocation details are administered by Christie’s and the partnering organizations; bidders seeking clarity should contact Christie’s for the exact distribution plan.

Q: Who outside the film industry might be interested in these pieces? A: Private collectors focused on costume, fashion historians, museums, jewelry collectors, brand loyalists and philanthropic buyers may all participate. Pieces like the Lady Gaga gown also appeal to music memorabilia collectors.

Q: What happens if an item needs conservation after purchase? A: Buyers should consult a qualified textile conservator immediately. Christie’s can often recommend conservators and shippers experienced with high-value garments. Proper conservation ensures long-term value preservation.

Q: Are there financing options for high-value purchases? A: Christie’s and some third-party financial institutions offer financing arrangements for buyers meeting credit and eligibility thresholds. Contact Christie’s client services for details before bidding.

Q: How might owning a film garment be leveraged beyond private enjoyment? A: Owners can loan pieces to museums or traveling exhibitions, use them for private display in climate-controlled environments, or collaborate with galleries for exhibitions. Loans increase public profile and can attract curatorial interest.

Q: Is the inclusion of a stain (as with the Gabriela Hearst Niki dress) common? A: Including marks that tie a garment to a specific scene is not uncommon and often strengthens provenance. For collectors prioritizing authenticity, such marks can be a selling point.

Q: Who is the point of contact for press or institutional inquiries? A: Christie’s client services and press office manage inquiries. For institutional acquisition interest or loans, contacting Christie’s specialists early is advisable.

Q: Are there plans for similar auctions in the future? A: The auction structure mirrors an expanding trend: studios and production houses increasingly partner with auction houses for charity-driven sales. Future auctions depend on production schedules, studio decisions and philanthropic partnerships.

Q: What should buyers know about long-term value? A: Value depends on rarity, provenance, cultural significance and market demand. Items tied to iconic film moments and high-fashion labels generally retain or appreciate over time, provided they receive appropriate conservation and documentation.