Taking Julia Kristeva's “Women's Time” as its point of departure, this article considers contemporary feminist theory and its contributions to recent theoretical paradigms of temporality. From Kristeva's understanding of women's subjectivity in relation to “linear time as the time of project and history,” this essay engages the various ways that feminism has thought the temporal, arriving at a notion of the démodé. The démodé, in its multivalent capacity as an aesthetic function of women's time, is explored in the photographs of Moyra Davey, whose work, this article argues, enables us to see the démodé as a mechanism that makes possible the radical dispossession of time.

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