At the world premiere of “,” actress Meryl Streep leaned into her character’s devilish persona. She wore the character’s signature sunglasses along with long black gloves and a flowing red leather cape from .
Streep’s outfit, though, is a small moment in a much larger story – one in which Christianity and fashion have been intertwined for centuries, sometimes as adversaries, sometimes as collaborators.
While neither of the “Devil Wears Prada” movies revolve around Christianity, the invocation of the devil taps into an older moral rhetoric. For centuries, fashion was cast as the troublesome, if not villainous, enemy of a – a symbol of putting material desires before holy ones. For example, 18th-century cleric and founder of Methodism John Wesley by dressing “neatly” and “plainly.”
Yet Christian imagery has come to shape the industry in profound ways. As a the relationship between , I have traced how Christian imagery circulates in surprising forms. The devil, for instance, occasionally appeared in fashion advertising to suggest sin, sensuality and transgression.
Christian imagery of angels and Eve
In the mid-20th century, Christianity often occupied a supporting role in the fashion industry. It showed up in articles by Christian religious leaders and color photographs of Christian art and architecture published in fashion magazines.
For example, by Catholic Bishop and Columbia University Chaplain appeared in Vogue alongside ads for makeup and fashion photo shoots.
Christian imagery also appeared in fashion advertisements featuring “” clothing and . gifting consumers “heavenly” products that promised beauty and ease.
The devil only occasionally played a part in ads for fashion products, such as perfumes, makeup and handkerchiefs. depicted the devil as a snake or . The biblical passage recounts how the serpent, typically interpreted as the devil in Christian theology, tempted Eve to sin by eating the forbidden fruit. Eve then offers the fruit to Adam, and, having both sinned, they realize their nakedness, are ashamed and make clothing.
, ranging from Revlon in the 1940s to Hanes in the 1960s, celebrated Eve’s rebellious action. their “Fatal Apple” makeup so they could look like Eve, while , “Poor Girl! She never knew the temptation of seamless stockings by Hanes,” next to an illustration of Eve holding an apple by a serpent.
Ads played with the idea of fashion as a temptation in which female consumers should indulge. Female consumers were urged to “Be Eve” and give into the desire to purchase products.
The devil was eclipsed as ads featured garden settings and products that promised “the look of Eve.” Eve symbolized beauty and promised consumers the same results through their purchasing power.
A for the “” issued an invitation: “Come, pretty girl. Be Eve, if you wish.” In that same decade, for their swimwear showed what this meant. Each ad featured a woman in a provocative pose wearing a Catalina bathing suit in a garden setting. By donning Catalina, the ad implies, the wearer can become Eve – attractive, stylish and sexy. By highlighting Eve’s rebellion alongside her beauty, ads framed her as a fashion heroine.
Eve’s prominent role in advertising demonstrates how the Judeo-Christian tradition permeated American culture, including the fashion industry.
An evolving fashion landscape
While Christianity appeared in industry advertisements, it also slowly began to take a more prominent role in fashion garments, as designers became more bold. Christianity inspired the design of many garments, and later, Christian figures began to appear on designer garments.
For example, in the 1960s, American designer , known for his minimalist design aesthetic, drew inspiration from the cassocks worn by Catholic priests. So, too, did Spanish designer Cristóbal Balenciaga. In 1967, his radiated simplicity in form and draping even as it also referenced the attire of Catholic priests.
While Beene and Balenciaga received praise for their restraint and elegance, the lesser-known London-born designer Walter Holmes created controversy with his “. Modeled after a monk’s robe and a nun’s habit, Holmes combined Christian inspiration with the miniskirt trend, which some people found fun, while others labeled it offensive.
In the 1990s, Italian luxury fashion brand , while Italian fashion designer Stefano Pilati’s 2010 line for played on the attire of Catholic nuns.
More recently, in , French designer Virginie Viard’s designs for Chanel referenced nuns and Catholic school girl uniforms.
‘Spiritual marketplace’
In the 1990s, Christianity began playing an even larger part in fashion, as the Virgin Mary and saints began to appear on garments. Prior to this, designers often avoided using religious figures; they preferred more abstract interpretations; it also helped prevent any controversy that might emerge from depicting sacred figures.
Designer Gianni Versace challenged this tacit rule in his . It included biker jackets adorned with bejeweled crosses and, in the finale, a that featured the Virgin Mary made out of a mosaic of jewels. The garment was also the centerpiece of ads for the collection and showcased the fashion potential of Christian figures.
Versace’s Marian halter reflected the larger shift away from . Christian symbols were lifted from church contexts and recirculated through popular culture, including fashion, in new ways. Versace’s of the Virgin Mary offered people a new way of seeing her – one open to interpretation outside of doctrine. Like Versace, they could claim her and reimagine her on their own terms.
Sociologist described the religious landscape as a “.” People relied less on religious authorities and more on the meaning they could create from “available images, symbols, moral codes, and doctrines.”
Religious ideas and products circulated through music and movies, crystal shops and sports stadiums, Christian bookstores and designer collections. Within this spiritual bazaar, Christian symbols, figures and history in new ways.
Modern-day trends
In the years since, Christianity has become a regular feature in fashion collections. Most notably, Christianity regularly has a starring role in the work of Dolce & Gabbana. Their 1998 “Stromboli” collection revolved around a Christian theme, a Marian procession, and dresses, tunics and blouses featuring Marian imagery.
The design duo have returned to Christian imagery several times. For example, their 2013 “” line, inspired by the golden mosaics in the Cathedral of Monreale in Sicily, featured garments adorned with angels, saints and Mary, as well as .
A critic called the mix of garments the designers’ “.” In their collection.
It is now almost commonplace for fashion lines to reference or include Christian symbols, themes and figures. At New York Fashion Week in 2026, ,” – garments adorned with the words “anno domini” and others with “the Lord is Coming.” More recently, in 2025, the vestments of Catholic priests inspired .
The devil makes only an on the fashion runway and on the red carpet; historically, too, his presence has been minimal. Christian figures who embody ideals of goodness and holiness – – are the ones who rule the runway. Christianity and fashion are not so separate after all.
Original article
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