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Early dress exhibitions (e.g., at the Brooklyn Museum in the 1950s) were taxonomic, focused on silhouette evolution. Historian Valerie Steele notes that fashion was long considered “frivolous” by art curators. The theoretical turning point arrived with postmodernism: thinkers like Roland Barthes (The Fashion System) decoupled clothing from function, treating it as a sign system. Simultaneously, feminist and critical race scholars argued that galleries could expose how style constructs gender, class, and racial identity. More recently, Judith Clark’s scenographic experiments and the blockbuster success of Alexander McQueen: Savage Beauty (2011) proved that fashion exhibitions could rival contemporary art in both attendance and critical discourse. The literature confirms a shift from history to concept —the gallery as argument, not archive.