on icons immersed in a world of glamour and excitement was a deliberate effort to create a brand image for the film. The audience being addressed in the four attached posters for The Devil Wears Prada consists, as noted above, of women between the ages of early adolescence through maturity; specifically, as Silverstone (1999) suggested, these posters target a unique audience that is defined in relation to the fashion icons presented in the photographs. The use of the high-heeled red shoe in the American and Hong Kong ads, as compared to the juxtaposed images of the female stars in the French and Japanese versions, downplays the role of the female stars and emphasizes the role of the designer clothes - themselves what Jean Baudrillard (1983) called a sign that identifies a specific item that has widespread recognition; Such items, like the red shoe and the pitchfork that is found at its heel base, have specific significance; receivers or audiences instantly understand what is being conveyed.
The film itself, given the clothes and accessories that were its focal point and which are emphasized specifically on the posters in which the female stars are dressed in designer clothes, can be understood as a brand. The brand, said communications theorist and postmodern philosopher Celi
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