Jewellery has a history of creating memorable moments on the big screen, whether it’s Marilyn Monroe in Harry Winston diamonds singing “Diamonds Are a Girl’s Best Friend” in Gentlemen Prefer Blondes (1953), Sharon Stone lounging on a bed in Casino (1995) surrounded by a fortune in Bulgari jewellery, or the enormous Cartier diamond necklace worn by Anne Hathaway in Ocean’s 8 (2018). They are examples of jewels becoming scene-stealers and playing cameo roles woven into the plot line of a film.

Blockbusters have long been showcases for luxury products. The James Bond franchise is a classic example of product placement with Aston Martin and Omega (the watch brand’s deal was reportedly a one-off US$2 million payment). Brad Pitt’s film F1 last year saw Mercedes and others sponsor his character’s fictional racing team, turning him into a human billboard of brands emblazoned all over his fire suit and helmet. Sponsorships, according to Forbes magazine, contributed at least US$40 million towards the film’s US$300 million budget.

Placing jewellery in a movie is a rather more nuanced affair because it is not clearly branded. The decision-making is down to the costume designer and the director. An obvious platform for fashion and jewellery brand partnerships is the much anticipated The Devil Wears Prada 2, yet all information about these was kept tightly under wraps until the film’s release at the beginning of this month.

However, Jemma Wynne’s gold Forme Toggle necklace and Marlo Laz’s gold beads worn by Anne Hathaway’s character, Andy Sachs, were an early spot, as were pieces by David Yurman and Briony Raymond worn by Miranda Priestly, played by Meryl Streep. Although these pieces were most likely loaned or bought by costume designer Holly Rogers for the film. Meanwhile, the Dior fashion brand plays an integral role in the plotline.

Many partnerships blur the lines between storytelling and marketing. Take the Bulgari cameos in Casino and in House of Gucci (2021), or the Tiffany & Co. pieces featured in Death on the Nile (2022) and Baz Luhrmann’s The Great Gatsby (2013).

Negotiating some of these deals between studios and luxury brands is Createology, a Los Angeles-based company founded by Kathryn Vanderveen, who has been in the film industry for more than 20 years. She first learned about brand integration on the set of Casino, watching wardrobe and props teams secure clothes and jewellery – and found herself fascinated. From there, she went into film production, liaising between Swarovski and costume designer Catherine Martin in the making of 2001’s Moulin Rouge.

She has built a unique role within the industry, creating partnerships with filmmakers. Notably that includes the directors and costume designers for brands like Tiffany & Co. (including recently in FX’s Love Story), Bulgari, Van Cleef & Arpels and Michelle Ong’s Carnet – an early placement (Ong designed the key in 2006’s The Da Vinci Code). Vanderveen has done the same with Buccellati and Autore South Sea pearls and, most recently, with three brands for The Devil Wears Prada 2, including Dior.

Pulling together the collaboration between Dior and Disney for Devil Wears Prada 2 was a fashion moment that rarely comes along. “This is what we love most, integrating storytelling in a way that feels seamless on screen,” says Vanderveen. “We are honoured to partner with Dior to weave the brand into the narrative itself.”