Prada 2 posed on a white staircase, with one woman centered in a dramatic red gown and the others dressed in black, tuxedo stripes and white tailoring.” width=”970″ height=”773″ data-caption=’Iconic fashion from “The Devil Wears Prada 2” will be offered online during New York Fashion Week. <span class=”lazyload media-credit”>20TH CENTURY STUDIOS</span>’>
Next month, Christie’s is going all in on the fandom economy around celebrity memorabilia once again with a dedicated online sale of apparel and accessories from The Devil Wears Prada 2. The auction, which runs September 1 to 15, will be accompanied by a public exhibition at Christie’s New York from September 8 to 13. Conceived and supported by Meryl Streep, who plays the film’s iconically imperious Miranda Priestly, the sale will include fashion connected to the movie, some worn on screen by Streep herself, Anne Hathaway, Emily Blunt, Stanley Tucci, Simone Ashley and Lady Gaga. The 20-lot auction is expected to generate more than $1 million and additional objects may still be added before bidding opens.
This is not the first time Streep has helped organize an auction tied to the franchise. Following the release of the original film in 2006, she spearheaded a charity auction of costumes connected to the movie, with more than 75 pieces by labels including Prada, Hermès and Valentino sold on eBay to benefit charities like Dress for Success and breast cancer research.
The first film had a costume budget of only about $100,000, although costume designer Patricia Field estimated that roughly $1 million worth of clothing eventually appeared on screen, much of it borrowed through relationships with fashion houses and designers. This time around, the industry was far more willing to collaborate: major brands openly embraced the sequel and gave the production much broader access to fashion collections. Costume designer Molly Rogers has described a bigger budget and far greater designer participation, while Stanley Tucci joked during the promotional tour about the sheer quantity of clothing made available to the production.
The sale is timed to coincide with the fall Handbags Online auction and will conclude at the close of New York Fashion Week. “Get your gorgeous on in time for fall and bid up big,” Streep said in a statement.
Proceeds from the sale will benefit the Committee to Protect Journalists (CPJ) and the Council of Fashion Designers of America, giving the auction a charitable angle that also mirrors one of the movie’s central themes. In the opening sequence, Andrea Sachs, now an investigative journalist, learns by text that she and her colleagues have been laid off just before she takes the stage at a journalism awards ceremony; the sequel repeatedly addresses the precarity of journalism and the economic pressures facing traditional media. “The Devil Wears Prada 2 reminded a generation that journalism is a serious craft and fashion is true art,” commented Wendy Finerman, the film’s Academy Award-winning producer, in a statement.
Also during New York Fashion Week, Christie’s will host a cocktail party and invite-only live charity auction at its New York headquarters. Fashion pieces and film-inspired luxury “experiences” will be auctioned to further benefit CPJ and the CFDA/Vogue Fashion Fund through the CFDA Foundation Inc., with Christie’s international head of handbags Rachel Koffsky Parker as auctioneer.
Bidders will have access to some of the sequel’s most recognizable pieces, including the elaborate Dries Van Noten tassel jacket worn by Streep as Miranda Priestly during a staff meeting at Runway (estimate $4,000-6,000) and a black-and-white Schiaparelli jacket, also worn by Streep in the film. Another highlight is a Fendi Peekaboo bag worn by Streep, while Anne Hathaway’s Andy Sachs is represented by the Gabriela Hearst Niki dress she wears in the Hamptons and accidentally stains in the film. Christie’s is offering the dress with the stain still intact, an unusually literal form of screen provenance.
Additional highlights include Dolce & Gabbana pieces worn by Streep, Stanley Tucci and Simone Ashley at the label’s Spring/Summer 2026 fashion show in Milan, where Ashley’s character Amari appears alongside Miranda and Nigel, as well as a Dior suit worn by Blunt’s character during a lunch with Donatella Versace.
Among the most theatrically elaborate lots is the black feather Bad Binch TongTong dress by Terrence Zhou, worn by Lady Gaga in the music video for “RUNWAY” with Doechii. At the opposite end of the price spectrum is a cerulean J.Crew cable-knit sweater worn by Andy Sachs as a journalist, offered with a very approachable starting estimate of $100-200.
In a recent interview with Observer, Koffsky Parker pointed out that handbags and other fashion collectibles represent an approachable opportunity for new collectors to come through the auction house’s doors. “There is an incredible audience and a real insatiable interest in learning,” she said, noting that information is now readily accessible and that, with genuine curiosity, a buyer can acquire a niche piece of fashion history.
The extraordinary success of The Devil Wears Prada 2, which debuted 20 years after the original, has reinforced the fashion world’s mythological aura. The film has grossed approximately $691 million worldwide to date, including $233.6 million on its opening weekend. Celebrity and screen provenance add another layer of storytelling and hype, which could attract a broader and more diverse group of buyers to this particular auction.
In January, revenue reports from both major auction houses confirmed that luxury collectibles have become a significant part of the business for both houses, helping them scale and expand buyer bases. At Sotheby’s, the luxury sector generated $2.7 billion in revenue, up 22 percent year-over-year, while at Christie’s, luxury sales reached $795 million, up 17 percent from 2024. Forty-one percent of all new bidders and buyers entered Christie’s through luxury auctions, and 44 percent of participants in 2025 were Millennials and Gen Z. That likely reflects both age and price accessibility; these cohorts are also more flexible and casual in their purchasing behavior, with 85 percent of bids placed online. Last year, Christie’s handbags department brought in about 12 percent of all new clients, and frequently 50 percent of bidders in its sales are new to the auction house. “Luxury has become one of Christie’s most important drivers of strategic and sustainable growth in the post-COVID years, consistently acting as a key entry point for new client engagement,” Kimberly Miller, global managing director of luxury, told Observer earlier this year.
