摘要：The article in its first part aims to give an account of the introduction of the term “deconstruction” in the field of fashion and studies dedicated to it. Since “deconstruction” has spread like a virus in North American culture since the 1980s, it is intended to verify the congruence of this spread that has reached the fashion world through the success of architectural deconstructivism. Beyond various generic and superficial references, a certain interest in the work of fashion designerMartinMargela has been recognized. Starting from this general framework, an attempt was made to show what themes and resources “deconstruction” can offer to fashion studies, in particular through the reading of a text by Derrida dedicated to the figure of the “veil” in the tradition of Western culture.
其他摘要：The article in its first part aims to give an account of the introduction of the term “deconstruction” in the field of fashion and studies dedicated to it. Since “deconstruction” has spread like a virus in North American culture since the 1980s, it is intended to verify the congruence of this spread that has reached the fashion world through the success of architectural deconstructivism. Beyond various generic and superficial references, a certain interest in the work of fashion designer Martin Margela has been recognized. Starting from this general framework, an attempt was made to show what themes and resources “deconstruction” can offer to fashion studies, in particular through the reading of a text by Derrida dedicated to the figure of the “veil” in the tradition of Western culture.
