Jewelry and Fashion in "The Devil Wears Prada" - A Style Guide to the Characters
The premiere of the second part of The Devil Wears Prada once again draws attention to the style that shaped the way we think about fashion. Miranda, Andy, and Emily operate in a world where meaning is built through details, read like a code. The most important of these? Jewelry. We examine the style of the heroines and show how to interpret it today – with inspirations from Berries.
How did "The Devil Wears Prada" change the narrative of fashion?
The premiere of The Devil Wears Prada in June 2006 marked an important moment – both for mainstream cinema and for the way fashion is discussed in popular culture. The film was not the first to explore the industry, but it was one of the few that managed to portray it in a way that was both visually attractive and narratively clear.
Styling co-creates character, signals their position and the changes they undergo. An observant viewer will notice that certain stylistic decisions appear precisely where the dynamics of relationships or the characters' way of thinking change.
Behind this coherence is Patricia Field – stylist and costume designer, who previously co-created the visual language of the cult series Sex and the City. In The Devil Wears Prada, she continues her approach, where clothes are an extension of the character. Miranda Priestly's style builds authority, Andy Sachs' wardrobe gradually reflects her adaptation, and Emily Charlton's distinctive choices emphasize tension and ambition.
Particularly interesting is how the film treats details, and above all, jewelry. It does not directly impose their meaning. It consistently shows that accessories – though less spectacular than clothes – often carry the most precise message.
Fashion as a system of meanings – when does style become a message?
Fashion in The Devil Wears Prada organizes reality. Clothing here is not neutral; it indicates the character's position, aspirations, and level of awareness, often before any words are spoken.
Color, texture, brand, or detail are not accidental. They create a message read by the environment. In the world of Runway, errors do not exist as "bad taste," but as a lack of cultural competence. This is best seen in the famous cerulean scene, where a seemingly ordinary sweater turns out to be the result of a whole chain of design and market decisions. Fashion ceases to be an individual's choice and becomes a system in which the individual operates.
Field's approach to costume design is based on three parallel orders that complement each other:
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character psychology – style must stem from personality and the stage the character is in;
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narrative – clothes change with the story, often preceding dialogues;
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aesthetics – the whole must remain visually cohesive and credible for the fashion world.
Luxury brands also play an important role. In this universe, they are not merely decoration or product placement. They function as semantic shortcuts. For example, Chanel signals classic elegance and heritage, Prada modern authority, and niche or archival elements indicate deeper knowledge and access to a world that is not widely available. The viewer does not need to know all the references to intuitively understand them.
The most complex element of this system, however, remains jewelry. Unlike clothes, which are easily subject to trends, jewelry operates on a different timeline – often transcending seasonality and carrying historical meanings. That is why it is often the most "coded" part of a styling. A single original necklace can indicate heritage, access to collectible items, or a conscious distance from trends.
Miranda Priestly – jewelry as a tool of power and a symbol of heritage
Miranda Priestly, the legendary editor-in-chief of the fictional magazine Runway, played by Meryl Streep, is one of the most expressive characters in the history of fashion cinema. Miranda Priestly's style leaves no room for chance.
Miranda's style construction – between classic and dominant
Miranda's image is based on a thoughtful selection of references to fashion archives, especially Donna Karan's designs from the 80s and 90s. This was a moment when women's power dressing took on a new meaning – less decorative, more functional, but still unequivocally associated with power.
Miranda's silhouettes are structured, precise, and disciplined. Coats, jackets, and dresses do not follow seasonal trends, creating a personal style code that remains recognizable regardless of context.
The most interesting tension, however, arises between form and meaning. Miranda's clothes often operate with a limited color palette and clean lines, while their context – material quality, construction, history – communicates maximalism. Visual minimalism here turns out to be a strategy of control, not resignation.
Miranda's jewelry – luxury that speaks louder than words
The fullest expression of this control is jewelry. Thanks to a collaboration with Fred Leighton – a house specializing in antique and collectible jewels – Miranda's style gains an additional dimension: historical and almost museum-like.
Her jewelry operates on several levels simultaneously:
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status signal – it's not about material value, but about access to objects unavailable to most;
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bearer of history – each element has its past, often dating back decades or even centuries;
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element of distance – it clearly separates Miranda from her surroundings, emphasizing her position.
The Lillie Langtry necklace – history enchanted in a jewel
The most spectacular example of this strategy is the necklace associated with Lillie Langtry – an actress and muse of King Edward VII. The object itself goes beyond the category of utilitarian jewelry, as it functions as a cultural artifact.
The design is part of the Egyptian Revival trend that developed in Europe in the 19th century under the influence of fascination with archaeology and ancient Egypt. Characteristic motifs – scarabs, stones of intense colors, layered construction – are a reference to the idea of eternity and power.
The symbolism of this single item is exceptionally dense:
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power – associated with monarchy and social elite,
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heritage – history conveyed with the object,
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timelessness – transcending seasonal fashion.
The most eloquent, however, remains the way it is worn. Miranda pairs this spectacular jewel with a simple white shirt.
Miranda's new era – contemporary jewelry and subtle power
In The Devil Wears Prada 2, Miranda's style evolves, but does not lose its function. Instead of monumental, historical forms, a more refined selection appears – less obvious, more conscious.
New choices include names like Cindy Chao or Bulgari, whose designs combine high-quality craftsmanship with an artistic approach to form. Jewelry ceases to be solely a symbol of heritage and begins to function as a collectible, unique, often experimental object.
The change primarily concerns the way of communication. Instead of an obvious display of status, what emerges is soft power – strength based on knowledge, selection, and the ability to choose. Miranda's style remains inaccessible, but not due to excess, but due to precision.
Andy Sachs – style as a process and jewelry as a sign of transformation
Andy Sachs, played by Anne Hathaway, represents the viewer's entry point into the world of Runway. Her style is not ready-made – it evolves with experience, and jewelry becomes one of the most legible signals of this change.
First encounter with fashion – an outsider in the world of Runway
Andy's initial image communicates distance from the industry. Loose silhouettes, a lack of clear structure, and careless layering create an image of someone who does not treat fashion as a tool. Style here serves a protective function. It emphasizes independence, but at the same time excludes her from a specific cultural code.
The famous "cerulean sweater" remains a symbolic reference point – a blue sweater that, in Miranda's eyes, is the result of a whole chain of design decisions. This scene unmasks the illusion of autonomy: even a lack of interest in fashion is, in fact, part of the system.
The absence of jewelry is also not accidental. Andy does not wear accessories because she does not yet operate in a language that would allow her to use them consciously. In the world of Runway, this means one thing – she remains outside the structure.
Turning point – when does style begin to build identity?
Andy's metamorphosis is not just about changing clothes, but about adopting the rules that govern them. The moment of transformation in the film's structure acts as a kind of rite of passage.
The choice of Chanel as the main reference point is not accidental. The aesthetic of the fashion house – based on classicism, restraint, and structure – allows Andy to enter the world of luxury without losing credibility. Characteristic elements appear: tweed jackets, over-the-knee leather boots with CC logo, refined accessories.
Andy in 2026 – between fashion and authenticity
In The Devil Wears Prada 2, Andy already operates outside the Runway structure, but her aesthetic sensibility remains shaped by her experience from the first part. Her style can be described as corporate bohème – a combination of professionalism with elements of individualism. References to vintage appear, including Jean Paul Gaultier designs, combined with modern brands such as Khaite or Phoebe Philo designs. Style ceases to be a response to environmental demands and begins to stem from personal choices.
Emily Charlton – fashion on the edge and jewelry as armor
Emily Charlton, Miranda Priestly's first assistant, played by Emily Blunt, operates in the world of Runway on completely different principles than Andy. Her style does not speak of process or searching – it is a tool for survival in an environment where every detail can determine one's position.
Aesthetic of tension – style as a manifesto of ambition
Emily's style operates on the border of trend and theatricality. Her wardrobe features designs by brands such as Rick Owens or Vivienne Westwood – creators who have redefined fashion for years through experimentation with form and construction.
Silhouettes are sharp, often asymmetrical, with a clearly defined waist and strong shoulder lines. A dark color palette, layering, and contrasting textures create a sense of tension. In this way, fashion becomes a tool in the fight for attention and position in the hierarchy.
Jewelry and accessories – an element of visual "defense"
In Emily's case, jewelry acts more like an element of armor, complementing the styling and enhancing its intensity. Expressive, massive earrings, heavier forms, contrasting details – everything is subordinated to one goal: emphasizing presence.
In the second part of the film, Emily's style clearly evolves. Her aesthetic shifts towards corporate chic – less dramatic, more controlled. References to brands such as Schiaparelli appear, where expressiveness is still present but subdued. Jewelry then changes its function. It no longer needs to "defend" a position – it begins to confirm it. It remains visible, but ceases to be impulsive. It gains precision that comes from experience, not from the need to prove anything.
Between 2006 and 2026 – how has the understanding of luxury and the role of jewelry changed?
The change that occurred between 2006 and 2026 shows how the definition of luxury has transformed. Visibility gave way to selection, and recognizability to knowledge.
At the time of the first part's premiere, luxury fashion was strongly rooted in the logic of immediate recognition. Brands such as Chanel, Fendi, or Prada functioned as clear symbols of status; their presence in a styling required no interpretation. A logo, a characteristic form, or an iconic model was enough to communicate belonging to a specific world.
Two decades later, this mechanism is no longer sufficient. In The Devil Wears Prada 2, luxury no longer relies on what can be recognized immediately. What requires context plays an increasingly important role: quality of craftsmanship, references to archives, niche names. Alongside major fashion houses, brands such as Schiaparelli, Dries Van Noten, or Jacquemus appear, building their position through a distinctive, authorial narrative.
Another factor contributes to this change: the rising prices of luxury goods. Products that in 2006 were a symbol of aspiration are now beyond the reach of most consumers. Access to a brand itself is no longer a differentiator. Meanings shift towards conscious choice – why a particular element was included in the styling.
What does the world of "The Devil Wears Prada" teach us about fashion today?
Fashion in this universe is primarily a form of communication. Every choice, even a seemingly neutral one, carries a specific meaning and is interpreted by the environment. The Devil Wears Prada teaches us to look at style through the prism of context.
The greatest strength of this film remains its relevance. Although two decades have passed since the premiere of the first part, the mechanisms it depicts are still at play. Brands change, aesthetics change, but the principle remains constant: style communicates faster than words.
Jewelry plays a special role in this system because it operates beyond seasonality. It does not succumb to trend changes as easily, allowing it to build a more personal narrative. The Devil Wears Prada does not teach what is fashionable. It shows something much more enduring – how to build style that matters.