Where Devil Wears Prada 2 Costumes Went at Christie’s

Fifteen Online Days and the 10 September Event: How Christie's Sale Worked

From 1 to 15 September 2026, Christie's ran an online sale of costumes and accessories from The Devil Wears Prada 2, titled “The Auction: Inside The Devil Wears Prada 2,” benefiting the Committee to Protect Journalists (CPJ) and the Council of Fashion Designers of America (CFDA). Time Out and CFDA both credit Meryl Streep, who plays Miranda Priestly in the film, with initiating the sale: CFDA describes it as an auction “conceived of and supported by Meryl Streep,” while Time Out states, “Streep conceived the auction.” TMZ frames it differently, describing it as a fundraiser auction run by Meryl Streep and Christie’s. Christie’s own coverage of the sale does not separately describe Streep’s role. Nearly every lot examined below was donated to the auction by the fashion house itself, listed in the Provenance field as “Donated by”; the exception is the 2006 zebra-print coat, consigned by its previous owner, who bought the piece at the film’s charity auction twenty years earlier.

Beyond the online sale, a private cocktail reception with a live auction took place in New York on 10 September 2026. CFDA, one of the two beneficiaries, described Thursday’s event in its 11 September piece as “The Devil Wears Prada 2 cocktail and auction,” where Streep spoke on stage; some pieces that evening, per CFDA, were offered “for the live auction,” including the very Dries Van Noten fringed jacket that was also sold as a separate lot in the online sale. Just Jared independently names the same date: according to the outlet, Streep and Emily Blunt attended the film’s auction event on Thursday, 10 September, at Christie’s in New York. A lot card offers direct confirmation of the date too: the Valentino Garavani shoes discussed below carry a Christie’s notice stating, “Please note that this lot was signed by Meryl Streep on September 10th.” Christie’s does not separately publish results from the 10 September evening itself — which pieces sold at the live auction and for how much; the lots examined below belong to the fifteen-day online sale, whose bidding closed on 15 September.

The public preview of the items was held in New York: Christie’s own coverage gives the dates as 9–13 September, while TMZ and The Impression say 8–13 September; the one-day discrepancy cannot be resolved from the available sources and is noted here as-is. TMZ also places the preview “at Rockefeller Plaza in New York” — which matches the address of Christie’s New York headquarters, though TMZ itself does not identify it that way.

The Fringed Jacket: Costume Designer Molly Rogers on the Piece

Meryl Streep wears a Dries Van Noten Fall/Winter 2025 jacket trimmed with pastel and earth-toned tassels in the scene where publishing house Elias-Clarke, which owns Runway magazine, discusses restructuring with a team of consultants. The lot is described as screen worn, with a Christie’s estimate of $4,000–$6,000 and Dries Van Noten itself as the donor. Bidding on the lot closed on 15 September 2026 at 14:40 GMT; the final bid was $15,000, and the realized price including buyer’s premium was $19,200 — 3.2 times above the top of the estimate.

The film’s costume designer is Emmy winner Molly Rogers, who previously worked as Patricia Field’s assistant on the 2006 original. Rogers told Gold Derby about this exact jacket: “It was literally the first thing I saw that I wanted for the movie.” Later in the same interview, she describes the scene built around the jacket as pitting “art versus commerce, good versus evil”; VJOURNAL adds no interpretation of the script beyond her own words.

The Stained Dress: Tracing the Hamptons Scene Costume

A separate lot offers a Gabriela Hearst linen-patchwork “Niki” maxi dress — the lot title itself reads “screen worn by Anne Hathaway.” Per the lot description, the dress appears in the scene of Hathaway’s character arriving at Miranda’s Hamptons estate and the following lunch scene, as the lot text calls it; Christie’s own coverage adds that her character “spills food” on the dress during the visit. TMZ reports that the stain survives on the actual piece being sold — “with the stain included” — a detail the Christie’s lot card neither confirms nor denies. The lot was estimated at $3,000–$4,000, donated by Gabriela Hearst itself. Bidding closed on 15 September at 14:32 GMT: the final bid was $9,500, and the realized price was $12,160.

Nigel’s Suit and the Catalog’s Other Provenance Terms

Not every piece labeled “from the film” relates to filming the same way. The Dolce & Gabbana three-piece suit worn by the Nigel character at the fashion house’s Milan show is titled in the lot not as “screen worn” but as “created for Stanley Tucci” — the description specifies the suit is “identical to those worn by Stanley Tucci,” meaning it is an identical copy. Christie’s own editorial coverage puts it more directly: “Christie’s is offering a replica of the suit.” It was estimated at $2,000–$3,000, donated by the Dolce & Gabbana house itself. Bidding closed on 15 September at 14:13 GMT: the final bid was $1,200, and the realized price was $1,536 — below the low estimate, like the Bad Binch TongTong dress discussed later in this article.

Other provenance wording appears elsewhere in the catalog. The Valentino Garavani shoes are titled “created for the trailer” — an item made specifically for a promotional trailer, not a costume worn during filming. A white Elie Saab dress, paired in one lot with Maison Skorpios boots, is titled “production-made double” — the lot card does not explain exactly why this double was made or whether it appeared on screen; only the boots in that lot are labeled “screen worn.” Two more lots fall under “worn by” outside actual filming: a Dolce & Gabbana suit and blouse that Streep wore to the film’s New York press junket, and a Givenchy jacket, trousers and belt that Streep wore in promotional videos for the film — sold in the same lot as a Givenchy coat and sunglasses that, per the lot card, Streep wore riding to a Late Show appearance rather than in the videos. There is no single rule here of “one wording, one provenance type” — each card must be read on its own.

The Tiffany Bracelet From Milan’s ‘Last Supper’ Scene

A platinum Elsa Peretti “Bone Cuff” for Tiffany & Co., set with roughly 107 diamonds totaling about 2.47 carats, is worn by Emily Blunt’s character in the film’s Milan dinner scene, for which, per Wikipedia, the set was built at three-quarter scale with a handmade replica of Leonardo da Vinci’s “The Last Supper.” The lot is titled “screen worn by Emily Blunt” and was donated to the auction by Tiffany & Co. itself. It carries a public estimate of $20,000–$30,000; coverage that recirculated the sale’s announcement also mentioned a $107,000 figure alongside this lot, but it matches neither Christie’s estimate nor the realized price — TMZ cites it without explaining what the sum represents or how it was derived. Bidding on the lot closed on 15 September at 14:12 GMT: the final bid was $42,000, and the realized price including buyer’s premium was $53,760 — above the top estimate and the most expensive of the lots examined here.

The Dress From the ‘Runway’ Music Video

Another lot is a black velvet dress with a feather boa by designer Terrence Zhou for Bad Binch TongTong. Lady Gaga recorded the song “Runway” for the film’s soundtrack with Doechii and has a cameo in the film itself, but according to the lot description and Christie’s coverage, this particular dress is the one she wears in the music video for that song; neither the lot card nor Christie’s editorial material states that the dress appears in the film itself. It was estimated at $15,000–$20,000. Bidding closed on 15 September at 14:21 GMT: the final bid was $8,000, and the realized price was $10,240 — below the low estimate, like the Dolce & Gabbana suit above; of the eleven lots examined here, these are the only two that closed below their own estimate.

The Giorgio Armani Set From the Lake Como Scenes

Christie’s own editorial coverage highlights five sale “highlights,” but the catalog includes other confirmed screen-worn lots too. A black sequined-tweed Giorgio Armani bodysuit and trouser set that Hathaway wears in the Lake Como scenes is titled “screen worn by Anne Hathaway” in the lot, donated to the auction by the Armani house. The lot was estimated at $2,000–$3,000. Bidding closed on 15 September at 14:12 GMT: the final bid was $4,000, and the realized price was $5,120.

A Garment’s Path: From Set and Promo Work to a Second Auction

The Provenance field naming the donor is not the only thing traceable in a lot card. Several pieces in the sale carry their own history before 2026, documented by Christie’s itself.

The 15 September Results: What Sold and for How Much

According to Christie’s lot pages, all eleven lots examined in this article closed on 15 September 2026 between 14:00 and 14:53 GMT; the realized price including buyer’s premium is published on those same pages: the Dries Van Noten jacket — estimate $4,000–$6,000, realized $19,200; the Gabriela Hearst dress — estimate $3,000–$4,000, realized $12,160; the Dolce & Gabbana suit for Nigel — estimate $2,000–$3,000, realized $1,536; the Tiffany bracelet — estimate $20,000–$30,000, realized $53,760; the Bad Binch TongTong dress — estimate $15,000–$20,000, realized $10,240; the Giorgio Armani set — estimate $2,000–$3,000, realized $5,120; the Valentino shoes — estimate $500–$1,000, realized $8,960; the 2006 Charles Chang-Lima zebra coat — estimate $400–$600, realized $5,760; the Lucy Liu dress and boots (Elie Saab and Maison Skorpios) — estimate $2,000–$3,000, realized $3,840; the Dolce & Gabbana press-junket suit and blouse — estimate $1,500–$2,000, realized $7,040, closing at 14:48; the Givenchy suit and coat — estimate $2,000–$3,000, realized $9,600, closing at 14:53.

In total, buyers paid $137,216 including premium across all eleven lots examined in this article — this is VJOURNAL’s own tally from the figures published on the lot pages, not an official Christie’s total. As of 16 September, Christie’s had not published a combined proceeds figure for the entire sale, which includes considerably more than eleven lots — this editorial figure should not be compared with the auction’s overall revenue.

Across all eleven lots, the realized price is exactly 1.28 times the final bid — a ratio calculated from the numbers published on the lot pages, not taken from a percentage announced by Christie’s; the buyer’s-premium rate Christie’s applied to this online sale is not stated anywhere in the materials reviewed.

Reading a Lot Card at a Charity Online Auction

Christie’s own note on its lot pages explains: “Estimates do not reflect the final hammer price and do not include buyer’s premium…” (quote incomplete). In other words, a lot card carries several different figures, not one: the estimate is the organizer’s preliminary guidance; the bid, before and after closing, is the price excluding premium; the realized price is what the buyer ultimately pays including the premium.

The Provenance field identifies who consigned the item to the auction — in the lots examined above, that’s mostly the fashion houses themselves (Gabriela Hearst, Dolce & Gabbana, Tiffany & Co., Giorgio Armani, Dries Van Noten, Valentino, Elie Saab, Maison Skorpios), and in one case, a previous owner who had bought the piece at the film’s auction twenty years earlier.