Abstract
Decolonizing debates have the potential to revitalize fashion studies by placing greater emphasis on the way we practise, and the conditions under which we see, hear and speak about fashion imagery. Decolonializing projects and anti-racist activism suggest new methodologies and transformational insights, which are riddled with contradictions and personal vulnerabilities. This article reflects on museums and fashion photography as spaces of decolonial reckoning and paradox. Understanding and coming to terms with positionality, a crucial factor in decolonial praxis, emerges as a continually unfolding process of action and compromise in which the researcher may ultimately ground herself.
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