This research aims to reveal a decolonial critique of fashion museology by sharing genealogies of creative Senegalese women between 1939 and 1966. In it I reflect on the absence of black women designers in contemporary fashion history in France and Europe coming from my French/Ivorian designer-researcher background. I want to restore missing narratives by re-editing archival garments and jewellery, potentially reattributing designs to their owners by a practice-led research where I  produce objects of memory. Creating archives, crafting garments issued from collective fashion memory will help fill the blanks using speculation and fictions based on Senegalese women who played a role in fashion between France and Senegal. The artistic context is rewriting history through designing following historian and craftswoman Fatou Niang Siga. The theoretical context is decoloniality and Senegalese/French fashion histories. The period (1939-1966) delimits Khady Diop’s photographs arriving in Paris and Thérèse M’Bissine Diop’s attire in Sembène’s movie “La noire de…” (1966). My methodology is based on critical fabulation, using imagination to connect with the past. The goal is to contribute to the decolonization of contemporary fashion history by acknowledging and re-creating a denied black fashion genealogy with contemporary fashion in France to propose new creative routes. This research project wants to react against Eurocentric institutional universalism, as illustrated by many fashion exhibitions seen in Paris and recently “About time Fashion and Duration” (2020) at the MET Museum in New York not showing any work designed by black women.