Close Menu
Market Data Newsletter
Thursday, August 6
Global Free Speech

Christie’s New York to offer costumes and more from ‘The Devil Wears Prada 2’ in online auction

News RoomBy No Comments8 Mins Read2 Views
Christie’s New York to offer costumes and more from ‘The Devil Wears Prada 2’ in online auction

Listen to the article

0:00
0:00

Clothing and accessories featured in the hit 20th Century Studios film to be offered from September 1-15 to benefit the Committee to Protect Journalists (CPJ) and the Council of Fashion Designers of America (CFDA)

A public exhibition of the items in the sale will be held at Christie’s New York from September 8-13

New York, NY, August 5, 2026—Christie’s global auction house will host a groundbreaking online auction featuring apparel and accessories from the hit 20th Century Studios film, “The Devil Wears Prada 2.” The online auction will take place at Christies.comfrom September 1 to September 15, with sales benefitting the Committee to Protect Journalists (CPJ) and the Council of Fashion Designers of America (CFDA). A free, public exhibition of the items being offered will take place at Christie’s New York at 20 Rockefeller Plaza from September 8 to September 13, alongside the exhibition for Handbags Online: The September Edit.

The online auction — conceived of and supported by “The Devil Wears Prada 2”star Meryl Streep, who led efforts around a charity auction of costumes after the first film — will include many fashion pieces connected to the film, some worn by “The Devil Wears Prada 2”stars Streep, Anne Hathaway, Emily Blunt, Stanley Tucci, Simone Ashley, and Lady Gaga on screen.

In addition to the online sale, Christie’s, in collaboration with CFDA and CPJ, is hosting a cocktail party and live charity auction by invitation only at Christie’s New York during New York Fashion Week on September 10, at which fashion pieces and film-inspired luxury “experiences” will be auctioned to benefit CPJ and the CFDA / Vogue Fashion Fund via the CFDA Foundation Inc. Rachel Koffsky Parker, Christie’s International Head of Handbags, will participate as charity auctioneer.

Highlights in the auctions include:

  • The Gabriela Hearst Niki dress that Hathaway’s character Andy Sachs wears to the Hamptons and accidentally stains in the film (the dress will be offered with the stain)
  • The Dries Van Noten tassel jacket worn by Streep’s character Miranda Priestly in the film during a staff meeting at Runway
  • The Dolce & Gabbana pieces worn at the designers’ Spring/Summer 2026 fashion show in Milan by Streep, Tucci, and Ashley
  • The Bad Binch TongTong by Terrence Zhou feather dress Lady Gaga wore in the music video for Runway with artist Doechii
  • The Elsa Peretti Bone Cuff worn by Blunt as Emily in the film (this item retails for $107,000)
  • A prototype of a pair of red Valentino Garavani Rockstud pumps worn by Streep as Miranda Priestly in the film’s trailer. They will be signed by Streep
  • A Vhernier necklace and ring worn by Streep as Miranda Priestly in the film
  • A black and white Schiaparelli jacket worn by Streep’s character Miranda Priestly in the film
  • A Dior suit worn by Blunt’s character Emily in the film during a lunch with Donatella Versace

More objects may be added before the sale. For more information on the online auction, visit Christies.com/devilwearsprada2.

Meryl Streep said: “Please join us as we celebrate truth and beauty, beauty and truth! ‘The Devil Wears Prada’ spectacular global auction of shoes, bags, gowns, and glamorous experiences, live via Christie’s, to benefit the Committee to Protect Journalists and the Council of Fashion Designers of America! Get your gorgeous on in time for fall and bid up big!”

Julien Pradels, President, Americas, Christie’s, said: “It is Christie’s pleasure and privilege to help translate the energy and excitement around this iconic film into support for important, strong causes. These kinds of partnerships, relying on the generosity and support of so many, are truly, as Miranda Priestly would say, groundbreaking. We hope people will visit Christie’s in New York to see these unique and exceptional objects and then register to bid to try to take them home.”

Jodie Ginsberg, CEO of CPJ, said: “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.”

Steven Kolb, CEO and President of the CFDA, said: “The charitable auction of looks and experiences tied to ’The Devil Wears Prada 2’ allows 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 is grateful to Disney and the film’s producers for their support of this auction which recognizes CFDA’s important efforts to strengthen creativity and next-generation talent with mentorship, resources, and business grants via the CFDA/Vogue Fashion Fund.”

Wendy Finerman, ACADEMY AWARD®-winning producer, said: “’The Devil Wears Prada 2’ reminded a generation that journalism is a serious craft and fashion is true art. This auction celebrates both through a carefully curated collection of items and experiences from special moments across the film that we know devoted fans will treasure. Each of these pieces and wish fulfillment events will bring immeasurable joy to whoever places the winning bid and simultaneously give back to important causes in our society.”

That’s all.

###

About the Committee to Protect Journalists

The Committee to Protect Journalists is an independent, nonprofit organization that promotes press freedom worldwide. We defend the right of journalists to report the news safely and without fear of reprisal.

About the Council of Fashion Designers of America

The Council of Fashion Designers of America Inc. (CFDA) is a not-for-profit trade association founded in 1962 with a membership of more than 325 of America’s foremost womenswear, menswear, jewelry, and accessory designers.

Pillars include Diversity, Equity, and Inclusion as well as Sustainability in Fashion. The organization provides its members with timely and relevant thought-leadership and business development support. Emerging designers and students are supported through numerous grant and scholarship opportunities. In addition to hosting the annual CFDA Fashion Awards, the organization owns the Fashion Calendar and is the organizer of the Official New York Fashion Week Schedule.

The CFDA Foundation, Inc. is a separate not-for-profit organized to mobilize the membership to raise funds for charitable causes an engage in civic initiatives.

About Christie’s

Founded in 1766, Christie’s is a world-leading art and luxury business with a physical presence in 46 countries throughout the Americas, Europe, Middle East, and Asia Pacific, and flagship international sales hubs in New York, London, Hong Kong, Paris and Geneva. Renowned and trusted for our expert live and online-only auctions, as well as bespoke Private Sales, Christie’s unparalleled network of specialists offers our clients a full portfolio of global services, including art appraisal, art financing, international real estate and education. Christie’s auctions span more than 80 art and luxury categories, at price points ranging from $500 to over $100 million. Christie’s has sold 6 of the 10 most important single-owner collections in history, achieved the world record price for an artwork at auction, launched the first fully on-chain auction platform dedicated to exceptional NFT art and manages an investment fund to support innovative startups in the art market. Christie’s is also committed to advancing responsible culture throughout its business and communities worldwide. To learn more, browse, bid, discover, and join us for the best of art and luxury at christies.com or by downloading Christie’s apps. * Please note when quoting estimates above that other fees will apply in addition to the hammer price – see Section D of the Conditions of Sale at the back of the sale catalogue. * Estimates do not include buyer’s premium. Sales totals are hammer price plus buyer’s premium.

About “The Devil Wears Prada 2”

Twenty years after making their iconic turns as Miranda, Andy, Emily and Nigel—Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci return to the fashionable streets of New York City and the sleek offices of Runway magazine in the eagerly awaited sequel to the 2006 phenomenon that defined a generation. The film reunites the original main cast with director David Frankel and writer Aline Brosh McKenna, and introduces an all-new runway of characters including Kenneth Branagh, Simone Ashley, Justin Theroux, Lucy Liu, Patrick Brammall, Caleb Hearon, Helen J. Shen, and B.J. Novak. Tracie Thoms and Tibor Feldman also reprise their roles as “Lily” and “Irv” from the first film. “The Devil Wears Prada 2” is produced by Wendy Finerman and executive produced by Michael Bederman, Karen Rosenfelt and Aline Brosh McKenna.

Read the full article here

Fact Checker

Verify the accuracy of this article using AI-powered analysis and real-time sources.

Share.

The FSNN News Room is the voice of our in-house journalists, editors, and researchers. We deliver timely, unbiased reporting at the crossroads of finance, cryptocurrency, and global politics, providing clear, fact-driven analysis free from agendas.

Related Articles

Global Free Speech

The studios of B-92 in Belgrade. Photo: EC – Audiovisual Service / Raymond Maxwell In 1989, Serbia was in a state of turbulence. The region was on the brink of the Yugoslav wars – the decade-long conflict prompted by the collapse of Yugoslavia, of which Serbia was one of six constituent republics. Slobodan Milošević, populist president of Serbia who gained power by capitalising on rising ethno-nationalist tensions, had recently come into office. Central communist control was weakening, dissent had been stifled and free media was at a premium. These were the conditions under which Veran Matić, together with several other student journalists from Belgrade University, founded the radio station B92. Matić had been involved in independent youth media since 1984, and the station was born from his desire to combine journalism with other forms of civic activism. He proposed that the founding document of the station should be the Universal Declaration of Human Rights – a principle, he told Index, that has guided him since his early life. “I grew up in a village, mostly with my grandparents. They taught me the values of honesty, justice, and many of the ethical principles rooted in religious teachings,” Matić said. “My interests have always extended beyond journalism alone.” Blending rock music with current affairs programmes and phone-ins, B92 quickly gained popularity as a rare outlet for Western news and information in Yugoslavia. However, Serbia was becoming increasingly authoritarian under Milošević; the station’s preference for truth-telling was at odds with the regime, and B92 became a prime target for suppression. Years later, Matić found out that he had been surveilled from the very beginning of his career. “The Yugoslav State Security Service had already begun monitoring and wiretapping me,” he explained. “I was aware that I was being followed, but I had no idea that my telephone conversations had been systematically intercepted for years.” Matić soon became editor-in-chief of B92. During anti-government demonstrations in Belgrade in March 1991, police stormed the newsroom and threatened staff members and foreign correspondents in the newsroom, forcing the station off the air. “Tanks had already begun appearing on the streets, and the police threatened violence against our staff,” Matić said. “We finally suspended broadcasting, but we refused to air the official state news agency’s reports. The following day we resumed broadcasting without permission because the student protests had begun.” The next time the state tried to shut B92 down, in 1996, the station was ready. Staff outmanoeuvred the authorities by transmitting their signal over the internet to the BBC in London, which relayed it by satellite back to local radio stations across Serbia for broadcast. This was one of the first examples of using the internet to circumvent censorship in broadcasting. Matić contended that the most dangerous period for B92 staff was during the NATO bombing campaign in 1999 – a large-scale air campaign to destroy Yugoslav infrastructure and to stop the repressive activities of the Milošević government. In and amongst the turbulence and warfare, Radio B92 was once again banned. But this time, Matić was arrested. “I was taken to a detention cell inside the largest police headquarters in Belgrade,” he said. “Through a tiny window I could see the night sky, waiting for the bombers to arrive. For the first time in my life, I felt completely powerless.” Matić and his colleagues were buoyed, though, by an international campaign of solidarity in support of independent media in Serbia. They responded with innovation, driven by their belief that the authorities were “not stronger than the ideas.” “We responded by installing transmitters in Romania and Bosnia and Herzegovina, as well as a clandestine transmitter in Belgrade,” Matić told Index. “We switched it on on 5 October 2000, when nearly half a million people gathered peacefully in Belgrade to bring down Slobodan Milošević’s dictatorship.” In the years that followed, Matić continued to build his career in journalism. He helped to establish the Commission for the Investigation of Murders of Journalists in 2013, and currently chairs the Permanent Working Group for the Safety of Journalists and the Association of Independent Electronic Media (ANEM). He is also head of the B92 foundation, a non-profit launched by the media house which brings together companies, foundations and civil society organisations to promote philanthropy and humanitarian aid. Even though the Milošević era is long gone, Matić continues to face adversity and censorship while reporting in Serbia. Just last month, he was attacked while filming a public gathering in front of the National Assembly, when someone forcibly took his phone despite Matić introducing himself as a journalist. Matić is keen to stress that this was not an isolated incident. “What happened that day cannot be understood simply as an incident in which I was prevented from filming,” he said. “It was the culmination of a much longer process of public targeting and the creation of an atmosphere in which violence against me has effectively been legitimised.” Veran Matić in 2011, the year he was given police protection. Photo: Portal Vlade APV / CC BY 3.0 Between 2011 and 2016 he was under 24-hour police protection, both in Serbia and while travelling abroad. More recently, current President Aleksandar Vučić publicly disparaged Matić during a TV appearance, suggesting that people convicted of crimes as a result of Matić’s investigative journalism had been wronged. At the same time, a pro-government media organisation ran what Matić described as a lengthy propaganda piece on him. “After the broadcast, the threats intensified,” he said. “I have repeatedly been verbally abused and physically confronted in public. Members of my family have also been threatened. “The most frightening aspect is not only the hostility itself, but the growing conviction that there is little institutional protection available.” Matić is not the only journalist in Serbia being targeted in this way. According to the official records of the Supreme Public Prosecutor’s Office, only 12 out of 271 recorded cases of threats and attacks against journalists over the past two and a half years have resulted in final court judgments. Independent media is vital in holding those in power to account and being part of it will never be an easy profession. Matić identified several economic, legal, and security issues facing such outlets, including the threat of SLAPPs together with smear campaigns, harassment on social media and intimidating surveillance tactics. “The consequence is that many journalists go to work every day knowing they are exposed targets,” said Matić. “It has become a struggle for personal safety, for the survival of independent journalism, and ultimately for Serbia’s democratic future.” The B92 foundation has provided support to journalists outside of Serbia in recent years, including correspondents in Ukraine and Gaza. Through his experiences, Matić understands the importance of press freedom globally – and the cost that can come with it. “In many ways, my entire professional life has unfolded under pressure, threats and various forms of state repression,” he reflected. “If we want citizens to continue knowing what is really happening in our country, we must ensure that the journalists uncovering those truths are able to continue their work safely. “That, more than anything else, is what keeps me going.” READ MORE

Add A Comment
Leave A Reply