Fashion, Film, and a Charity Auction: What’s Actually Being Sold
The Devil Wears Prada 2 auction at Christie’s is a charity fashion sale that offers designer costume pieces, jewelry, and film-inspired experiences from the sequel, turning on-screen wardrobes worn by major stars into collectible objects for bidders around the world. This is not just another movie memorabilia sale; it is a pointed merging of couture, celebrity, and philanthropy. The online Christie's fashion auction, supported by Meryl Streep, runs from September 1 through 15 on Christie’s website and is timed to New York Fashion Week, putting it squarely in the middle of the industry’s most watched calendar moment. That timing is the first bold statement: this is fashion positioning itself as culture with a conscience, where your bid is both a flex and a donation.
Miranda Priestly’s Closet: Schiaparelli, Dries, and Valentino with an Attitude
If the original film convinced us that Miranda Priestly’s closet was the holy grail, this sale throws the doors wide open. Christie’s is putting the fashion universe of The Devil Wears Prada 2 within reach of bidders with a curated 20-lot offering that reads like a syllabus in modern luxury. Miranda’s wardrobe is represented through a Dries Van Noten tassel jacket, a black-and-white Schiaparelli jacket, and prototype Valentino Garavani Rockstud pumps that will be signed by Meryl Streep. These are not generic props; they are runway-caliber pieces sharpened by Priestly’s on-screen authority. The auction smartly blurs the line between costume and archive: owning these clothes means owning a fragment of a character who defined a generation’s idea of fashion power. It is costume design elevated to the level of museum object—and then handed a bidding paddle.
Anne Hathaway’s Stained Dress and the Charm of Imperfection
The most telling lot might be the Gabriela Hearst dress worn by Anne Hathaway’s Andy Sachs in a Hamptons scene—offered complete with the infamous salad stain. In an era obsessed with perfection, choosing not to clean a visible mark is a provocative choice. It insists that the value lies in the story, not the flaw. According to one report, the dress is catalogued explicitly with the stain intact, turning a wardrobe mishap into part of its provenance. It is Meryl Streep Anne Hathaway memorabilia with a twist: the glamorous myth of fashion is tethered to a messy, human moment. That tension is what gives this Devil Wears Prada 2 auction its emotional pull—these garments are not blank luxury commodities; they carry the residue of performance, character, and accident.
Beyond Miranda and Andy: Dior, Elsa Peretti, Vhernier and Gaga
What makes this Christie's fashion auction more than a two-star nostalgia play is its supporting cast of looks and labels. The 20-lot offering includes pieces worn on screen by Meryl Streep, Anne Hathaway, Emily Blunt, Stanley Tucci, Simone Ashley, and Lady Gaga, binding together different eras of style influence in one sale. Standouts include a Dior suit worn by Blunt’s Emily during a lunch scene with Donatella Versace, the Elsa Peretti Bone Cuff she wears in the film, Vhernier jewelry worn by Streep, and Dolce & Gabbana looks from a Milan fashion-show sequence. The auction even steps outside the movie, folding in Lady Gaga’s Bad Binch TongTong by Terrence Zhou feather dress from her RUNWAY music video with Doechii. In one catalogue, celebrity fashion memorabilia sits comfortably beside high-end designer pieces, suggesting that star power and design pedigree now carry equal weight.
Charity, Access, and the Limits of a Digital Fashion Fantasy
For all its glamour, this sale is designed to do more than furnish closets. The online auction, supported by Meryl Streep, directs proceeds to the Committee to Protect Journalists and the Council of Fashion Designers of America, threading press freedom and designer support into the narrative of a Hollywood sequel. A free public exhibition at Rockefeller Plaza from September 8 through 13 makes the pieces accessible even to those who never intend to bid. Yet there are limits. The content describing these treasures is provided for personal, non-commercial use only, and cannot be reused in ways that compete with or substitute for the original service. In other words, you may step inside Miranda Priestly’s closet for a moment, but the gatekeepers are still there. The message is clear: fashion can be shared, auctioned, even moralized—but it will never stop controlling its own image.
