The intersection of haute couture and cinematic history is set to reach a new zenith as Christie’s, the world-renowned auction house, prepares to bring the wardrobe of the most anticipated sequel in fashion-film history to the bidding floor. Two decades after the original The Devil Wears Prada redefined the public’s perception of the fashion industry, the garments that define the next chapter of the Miranda Priestly saga are being offered to the highest bidder.
Titled "A Million Girls Would Kill for These Things"—a direct nod to one of the most iconic lines from the original 2006 film—the auction represents more than just a sale of movie memorabilia. It is a curated exhibition of contemporary high fashion, a philanthropic endeavor, and a testament to the enduring cultural footprint of a franchise that turned "cerulean" into a household word.
I. Main Facts: The "A Million Girls Would Kill for These Things" Auction
Christie’s has officially scheduled the online charity auction to run from September 1 through September 15. This high-profile event was conceived in close collaboration with Academy Award-winner Meryl Streep, whose portrayal of the formidable Runway editor-in-chief Miranda Priestly remains a benchmark of modern cinema.
The auction features an array of garments and accessories worn by the sequel’s star-studded cast, which includes returning legends Meryl Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci, alongside franchise newcomers Simone Ashley and Lady Gaga. The inclusion of Lady Gaga and Simone Ashley signals a modern evolution of the Runway universe, blending classic editorial elegance with contemporary star power.
The sale is structured as a dual-benefit event. All proceeds from the auction will be split between two pivotal organizations:
- The Committee to Protect Journalists (CPJ): An independent, nonprofit organization that promotes press freedom worldwide and defends the right of journalists to report the news safely and without fear of reprisal.
- The Council of Fashion Designers of America (CFDA): A nonprofit trade association whose membership consists of America’s foremost womenswear, menswear, jewelry, and accessory designers, dedicated to strengthening the impact of American fashion in the global economy.
To provide the public and prospective bidders an opportunity to view these items in person, Christie’s will host a public exhibition at its prestigious Rockefeller Center galleries in New York City from September 8 through September 13. This window coincides with the height of New York Fashion Week, ensuring the collection receives maximum visibility from the global fashion elite.
II. Chronology: From eBay to Rockefeller Center
The journey of The Devil Wears Prada wardrobe from the screen to the auction block is a twenty-year narrative of escalating prestige.
The 2006 Precedent
In 2006, following the release of the original film, Meryl Streep spearheaded an innovative charity initiative. At the time, the concept of auctioning film costumes was less formalized in the luxury market. Much of the original wardrobe—which included pieces from Valentino, Bill Blass, and Prada—was sold on eBay. The proceeds then benefited Dress for Success, a global nonprofit that provides professional attire and development tools to help women thrive in work and life.
Memorable items from that initial sale included a Valentino silk chiffon blouse and the maroon-and-black Azzedine Alaïa pumps that Miranda Priestly famously inspected with her terrifyingly silent gaze. While successful, the 2006 auction was a grassroots digital affair compared to the institutional grandeur of the upcoming Christie’s event.
The Missing Green Coat
Not every iconic piece from the original film made it to the 2006 auction block. A notable exception was the vintage green coat with leopard-print cuffs worn by Anne Hathaway’s character, Andy Sachs, during the film’s transformative makeover montage. Hathaway has frequently spoken of her personal attachment to the garment. During a promotional event in 2006, her then-boyfriend purchased the coat for her, leading the actress to famously remark that he was "off the hook" for her birthday. The coat remains one of the most recognizable silhouettes in modern film history, serving as a symbol of Andy’s metamorphosis from a fashion-scoffing assistant to a high-fashion insider.
The 2024 Transition
The shift from eBay to Christie’s reflects the maturation of "costume-as-art." In the two decades since the first film, film costumes have increasingly been recognized as significant cultural artifacts. The sequel’s wardrobe, curated by costume designer Molly Rogers (of Sex and the City and And Just Like That… fame), was designed with this legacy in mind, ensuring each piece carried both cinematic weight and intrinsic fashion value.
III. Supporting Data: Highlights from the Catalog
The auction catalog for "A Million Girls Would Kill for These Things" features a mix of avant-garde designs and timeless luxury. Below are several key lots that have already generated significant interest among collectors and fashion historians.
The Gabriela Hearst "Niki" Dress
One of the most talked-about items is the Gabriela Hearst Niki dress worn by Anne Hathaway in a pivotal scene set in the Hamptons. The dress, which retails for approximately $7,900, is a masterpiece of sustainable luxury. Interestingly, the auction lot includes the dress in its "screen-used" condition—meaning it still bears the food stain Andy Sachs accidentally acquires during the scene. In the world of high-end memorabilia, such "battle scars" are often seen as enhancements to the item’s provenance and authenticity.
The Elsa Peretti Bone Cuff
Representing the jewelry category is a piece of wearable art: the Elsa Peretti Bone Cuff, worn by Emily Blunt’s character. This particular iteration of the legendary Tiffany & Co. design is valued at a staggering $107,000. Peretti’s Bone Cuff has long been a symbol of feminine strength and architectural elegance, making it the perfect accessory for the character of Emily, who has evolved significantly since her days as the "first assistant."
The Dries Van Noten Tassel Jacket
Meryl Streep’s wardrobe continues to be the focal point of the collection. A standout piece is a Dries Van Noten tassel jacket worn during a high-stakes Runway staff meeting. The jacket’s inclusion in the film was reportedly a point of contention; costume designer Molly Rogers revealed that the studio initially attempted to cut the piece from the budget. However, Streep and Rogers fought to keep it, recognizing it as a quintessential "Miranda" garment—bold, expensive, and unapologetically stylish.
The Valentino Garavani "Rockstud" Pumps
For collectors looking for a more accessible entry point, Christie’s is offering a pair of prototype red Valentino Garavani Rockstud pumps. These shoes are identical to the ones featured in the sequel’s teaser trailer. Adding significant value to this lot is Meryl Streep’s signature on the soles. Christie’s has placed a conservative estimate of $500 to $1,000 on the pumps, though experts predict they will far exceed this range due to the "Streep factor."
IV. Official Responses: The "Groundbreaking" Partnership
The announcement of the auction has been met with enthusiasm from both the film’s production team and the leadership at Christie’s.
Julien Pradels, Christie’s President of the Americas, expressed the house’s pride in hosting the event. In a press release, Pradels leaned into the film’s lore, stating: "To bring together the worlds of high fashion and cinematic excellence for such vital causes is, quite frankly, groundbreaking." The use of the word "groundbreaking" is a deliberate and witty reference to Miranda Priestly’s sarcastic dismissal of floral prints for spring in the original film.
The charities involved have also noted the significance of the event. A spokesperson for the Committee to Protect Journalists highlighted the thematic link between the film—which centers on the world of magazine journalism—and the organization’s mission. "While The Devil Wears Prada focuses on the glamorous side of the editorial world, the reality for many journalists globally is one of risk and sacrifice. We are honored that Meryl Streep and the production team have chosen to support the safety of journalists through this auction."
The CFDA emphasized the importance of the auction in celebrating the craftsmanship of the designers featured in the film. "This collection showcases the best of global design, and the funds raised will help us continue our mission to support and nurture American fashion talent," the council stated.
V. Implications: The Intersection of Cinema, Fashion, and Philanthropy
The Christie’s auction of The Devil Wears Prada sequel wardrobe carries several broader implications for the luxury market and the film industry.
1. The Elevation of Film Wardrobe to Fine Art
The decision to move from a general auction site like eBay to a premier house like Christie’s signifies a shift in how film costumes are valued. They are no longer viewed merely as props but as blue-chip investments. This follows a trend seen in recent years with auctions of items from The Crown and Succession, where the "costume" is treated with the same reverence as a painting or a sculpture.
2. The Power of Celebrity Provenance
The "Streep Factor" cannot be understated. Items owned or worn by Meryl Streep carry a premium that transcends the retail value of the garment. By signing the Valentino pumps and personally conceiving the auction, Streep has ensured that the sale is not just a commercial transaction but a curated extension of her own legacy and philanthropic interests.
3. The "Stain" of Authenticity
The inclusion of the stained Gabriela Hearst dress highlights a growing trend in the memorabilia market where "screen-accuracy" is prized over "mint condition." For a fan of the franchise, the food stain is not a defect; it is a direct link to a specific moment of Andy Sachs’ character arc, making the item a storytelling device rather than just a piece of clothing.
4. A New Era for ‘Runway’
The inclusion of Lady Gaga and Simone Ashley in the auction roster confirms that the sequel aims to bridge the gap between the millennial fans of the original and Gen Z audiences. The fashion choices—ranging from the classic Elsa Peretti to the contemporary Gabriela Hearst—reflect a brand (both Runway and the film itself) that is successfully navigating the changing tides of the industry.
As the gavel falls this September, the "A Million Girls Would Kill for These Things" auction will likely set new records for costume sales, proving that while trends in fashion may be fleeting, the power of a well-tailored story—and a Dries Van Noten jacket—is eternal. Just don’t mention florals for spring.
