Tiffany shines in The Devil Wears Prada 2 with Blue Book jewels

Tiffany’s most persuasive move in The Devil Wears Prada 2 was not the flashiest one. It was the way Blue Book high jewelry, Elsa Peretti’s archive shapes and the Via Montenapoleone flagship in Milan turned a movie cameo into a lesson in what actually layers well outside the cinema.

The collaboration put Tiffany & Co. inside one of fashion’s most watched sequels, which opened globally on May 1, 2026 and reunited Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci with director David Frankel and screenwriter Aline Brosh McKenna. The cast additions, including Kenneth Branagh, Simone Ashley, Justin Theroux, Lucy Liu, Patrick Brammall, Caleb Hearon, Helen J. Shen, Pauline Chalamet, B.J. Novak and Conrad Ricamora, gave the film a wider runway, but Tiffany’s role was anchored in a single Milan location: its Via Montenapoleone flagship, filmed on location in October 2025. Frankel chose the store for its architectural presence and cultural resonance in Milan, and that choice matters because the setting gives the jewelry a real city context instead of a sealed-off showroom polish.

The most cinematic pieces were also the least everyday. Media coverage of the placement points to Elsa Peretti Bone Cuff designs in platinum set with more than 100 hand-set diamonds each, the kind of sculptural volume that reads powerfully on screen and less so at the breakfast table. The same is true of the striped ivory T by Tiffany sunglasses, which sharpen the styling and add graphic contrast but do not shift the jewelry conversation toward restraint. What does feel transferable is the archive logic behind them: Peretti’s modern forms remain central to Tiffany’s identity, and the house continues to present her sensuous, organic shapes as pieces meant for daily wear.

That is where the film’s real influence sits for readers building layered looks. Tiffany is currently promoting Blue Book 2026: Hidden Garden, and the movie extends that high-jewelry storytelling into a mass-cultural frame while keeping the brand’s older signatures in view. A curated creator trip to Milan tied to the production and premiere pushed the same message outward. The result is less about copying the screen and more about editing it, taking the clean, fluid lines of Peretti and the authority of Tiffany’s flagship, then leaving the diamond-heavy showpieces to the red carpet.