When a coterie of supermodels, actors, athletes and musicians swan their way up the carpeted steps of the Metropolitan Museum of Art on Monday evening, many in the fashion industry and its spectators are likely to experience a sense of déjà vu.

That’s because the sequel to the “The Devil Wears Prada,” which comes out on Friday, will have just opened with an early scene set on the steps of another venerable New York City museum (the American Museum of Natural History), one that is being similarly mobbed by stars and photographers.

“There’s an expectation that the movie is going to be glamorous and fashionable, and a gala is kind of a shorthand to get us there,” David Frankel, the film’s director, said of the decision to reintroduce Miranda Priestly, the steely editor of a fictional fashion magazine, in the context of a faux Met Gala.

The weeks leading up to the real Met Gala, a starry fund-raiser for the museum’s self-financing Costume Institute, has been a whirlwind of cross-promotion, complete with sketches and editorial photo shoots aimed at elevating both the movie and the real-life publication that inspires it, Vogue. And all that synergy seems poised to result in the most meta Met Gala yet.

This year, the cover of Vogue’s May issue, which usually functions as a curtain raiser for the Met’s spring fashion exhibition, features a photo of the magazine’s longtime editor Anna Wintour alongside Meryl Streep, in costume as Wintour’s fictional alter ego.

“SEEING DOUBLE,” blares a cover line on the winking portrait, taken by Annie Leibovitz. “When Miranda Met Anna.”