The museum is an essential space within historiographical discourses because it facilitates, in part, the ways we collectively remember our pasts and the ways in which we create and curate our own histories. In this way, exhibitions about fashion remain a site of negotiation, veneration, and collective remembrance that contain guiding and hierarchical knowledges about taste, fashionability, and artistic mastery. Fashion exhibitions help make static the influence and approbation of certain designers and tastemakers, while often obscuring others. This perpetuates a canon of fashion history that often emblematizes institutionalizes, and disseminates white hegemony. These five exhibitions deconstruct this cycle by centering those who are often the least represented in historical and contemporary discourses about high-fashion, fine art, and fashion museology.
About The Author
Kai (they/them) is an aspiring cultural and fashion historian. Their work centers the body politics of beauty, clothing, identity, glamour and style and their interactions with the meaning-making functions of the fashion system. Their work also attempts to decolonize exclusionary historical discourses by centering the histories of queer and Black peoples who have been systematically obscured from collective memory. Kai is a recent graduate of Sarah Lawrence College, where they received a BA in Art History and the Cultural History of Dress and Fashion.