In an interview granted to Christopher Norris in 1988 for the International Symposium on Deconstruction (London)

“deconstruction goes through certain social and political structures, meeting with resistance and displacing institutions as it does so. I think that in these forms of art, and in any architecture, to deconstruct traditional sanctions – theoretical, philosophical, cultural – effectively, you have to displace…

Jacques Derrida (1) 

As Deleuze and Guattari (1987) have referred as “becoming-woman,” the same kind of construction could be appropriate to decontextualize fashion in terms of material self-fashioning device. I would say that capturing a more embodied museum practice remains a process to decontextualize fashion from an organization of a phallocentric economy ((2)p.252).

Using deconstruction in a museum setting could stand as a site of resistance to the oppressive institutional framework by rethinking performativity and educational purposes. Instead of self-fashioning the museum by accentuating one curator expertise in the museum space, it would benefit to display fashion from an anti-fashion stance such as what we have seen so far.

The main point I would like to stress is that the male curatorial posture is restricting the feminist display of fashion into museum. I would argue that museums deemed as self-fashioning themselves are ignoring the implications of self-organizing, self-styling system which largely problematize the subject-object methodology into dividual-selves rather than offering a universal subjectivity. On the other hand, I am considering the non-verbal display of clothings through materiality and the lack of scholarly documented texts in fashion exhibits. Reading through a non-verbal, and non-normative way of curating could be seen as a very disruptive posthuman curatorial challenge.