Am I the only person who still gets excited by pop culture's most important event of the year? No, I'm not talking about any of the EGOT awards - just about anyone can get a quota in now. I am talking about the Met Gala.

The fashion affair happens annually on the first Monday in May. Only the biggest celebrities are even allowed on the guest list, most probably because Anna Wintour wants the biggest pay cheques donating dollars to the Metropolitan Museum of Art in New York.

Other than the glitz and glamour of the night, the fashion event always reminds me of the iconic film The Devil Wears Prada.

The misadventures of Anne Hathaway in The Devil Wears Prada is a timeless tale that tells a story I feel has a special place in the ever beating heart of the corporate person of colour. One's allegiance goes one of two ways; you either feel proud of Andy or you want to be her abusive boss, Miranda Priestly.

The movie always finds itself top of the list of flicks that I feel should have had a diverse casting considering the subject matter.

However, their choices do reflect an archaic reflection of its time; a very white, very merciless, very exclusive and very glamorous world of fashion journalism.

It's no secret that Priestley's character was novelist Lauren Weisberger's nod to her own tormenter, Wintour. Known as the high priestess of fashion, Wintour has been the dominant voice of Vogue and fashion journalism for over two decades.

Which brings us to the problem with the current pages of Vogue magazine, it no longer has the budget nor depth to understand the globalised realities of a woke world.

Vogue must wait for a sociopolitical issue that will make people clamour for glamour before it holds the zeitgeist again. No longer keeping up with the glitzy Kardashians, the planet opened its arms to the Daria Morgendorffers of the sick, sad world we live in. An issue a Devil Wears Prada sequel really should explore.

The true voices of fashion can now be found between Pinterest boards, YouTube vlogs and Instagram posts. One of those formidable voices is Diet Prada, an Instagram account that has played the role of David against the many Goliaths of the fashion industry - Dolce & Gabanna being one of them.

Don't be fooled by the name, this Instagram account is a collection of in-depth reports on appropriation and theft within the industry. An actual fashion police if you will.

Having played a major role as fashion's authoritarian, does Wintour still have a voice that matters or one that simply echoes a vapid cry to the few who can afford a connection to her floundering Wi-Fi? And where does Miranda Priestly fit in when fashion is no longer her island but everyone's response.

I think a sequel to this tale is important for our local fashion as well. We are quick to cry appropriation but never know what to quite do when it has been committed.

In a world where we accept dashiki trends and Wakanda greetings, we consume a force-fed pop culture while ignoring the opportunity to define it for ourselves.

The very white, very merciless, very glamorous and very exclusive world of fashion and pop culture has been shattered. Everybody gets a foot in the door and everyone gets a seat at the table and perhaps this has made a new generation realise that they don't care to be Miranda Priestly anymore.

The Met steps will be graced by expensive Louboutins on May 6. This year's theme is Camp: Notes on Fashion.