co-curators of their own exhibitions, such as in the case of ‘Balenciaga’ and the designer Nicolas
Ghesquière in 2006 at the Museé de la Mode (Steele 2008). Be it the superstar designers or less widely
known designers (though certainly very familiar to those following fashion on the ramps), the paradigm
is largely the same, especially when it comes to exhibitions of contemporary fashion. Since 1983,
and especially during the last decade, these exhibiting strategies have become normalized