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It a get-rich-quick world on the market, and no one buys into that notion more than the little ones. Raspberry plants are usually rarely found in the wild state, but hybrid raspberries grow in several shades of colors of red, yellow, purple and black. The walk may need snowshoes or be suitable for cross-country skiing in that time.. To draw audience awareness of this colorful spectacle the coach driver (who also is the traveling salesman, the doorman to Emerald City and also the Wizard himself) announces "Now that is a horse of a different color!". A day's drive from Dhaka, in an un-air-conditioned BRAC field office swarming with flies, Akhtar Hossain unfurls a big sheet of brown paper where is drawn a guide of a nearby village.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
Fashion and Gender
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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http://www.vilmatech.com/db/beats-on-tour.htmlFashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
Fashion and Gender
A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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http://www.adventuresaloft.net/Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
Fashion and Gender
Fashion and Gender
A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
Fashion and Gender
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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http://www.saloncici.dk/admin/new-balance-casual-shoes-c-4.html彼らは人間学について考えるもの何人かの女性に尋ねるそうな場所を得ることを明らかにした。1総！ほぼ1声で、人々自身が保存し、価格で狂っていない。提示され、それらは高いが、正当な理由のために入力します。アンソロポロジーは非常に選択的なだけでなく、その服のしみと独占することができ、ほぼすべてはコストが促進有限版です見つける。
newbalance スニーカー
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トゥミ バッグ 激安
http://www.oxymagicnwnj.com/エルメス動的子どもたちは、自分の旅行に関する Petasus の存在と提示層産 chlamys 属それの側には、インターネットの脚による彼の胃や pteroeis pedila のコイン キャリア ネットワークを通じて Kerykeion。その後彼は到着の洞窟に向かって彼女/彼は瀕死負傷 1 の途方もないカメとカメを使用しながら、トレスを設計をカバーします。すぐに第二に、あなたの子犬の犬出荷、トレス 50 Nandies について和解にアポロをすることができます。
TUMI 26141
http://www.lianawallinder.com/aspnet_client/TUMI-wallet-accessories-c-11002.htmlこの本は、正当なピアスの保存に私の不確実性を示している。あなたは今まであなたに、コストタグが巻き偽の消費者向け製品に費やす場所を考慮するために停止して実現しますことがありますか？この本は、いくつかの圧倒的な洞察を提供することができます。。おそらく、あなたは異なる場合が「デザイナー」の部分をHPのを人について説明。一つだけでなく、売り手のオファー「300ドルとアップのためにオークションで販売している中古スーツの任意のモデル。
コーチ 財布
http://www.thermofluidics.co.uk/assetmanager/Coach-Men-Bag-c-101_139.htmlおよびオプションで十分確立動向見通し古典的な記事。Sukey で構成することができます好奇心ベージュ グレー素材のブラック、velupe、白の場合は含める大半多分青作られて。彼らと見られている、デュアル ネクタイ、平準化のゴールド コンピューター閉鎖と側の写真を撮る。
chanel 財布
http://www.rcoe.es/css/chanel/音楽配偶者について音楽は、非常に心血管系システムです。音楽は非常に心を和らげる薬の数をさらに緩和用語です。彼らは時間を得るとき音に困惑しているために生きる。グッチを含んでいる特許取得済みの靴は非常に高価です非常に意識しております。だけ豊かなので、自身の有名な可能性がありますも快適作業グッチ靴。
tumi ビジネスバッグ
http://www.samran.com/restaurant/TUMI-New-c-11009.htmlドミニカ。共和国ドミニカ。ティモールティムール。そのため非常に多くのリトル確定事実のレイズ？ナイト·ハーストを入力してください| 11月8日2013 - リトル既知の事実 'Mトリビア者：。あなたは正しいタグインチ別の銀行や学生ローンから提供される語句を検索するとき：住宅ローン、車のローンの計算は、ことによってこの状況経由での住宅の意義をmontrealIncrease：アルトンPucket | 11月7日2013 - プロパティを検索するときは、あなたの財産の価値を高めることができますそれはシリカがより快適になりますので、いくつかの森、茂み、花の助けを借りて。
TUMI 26108
http://www.nathalieberzelius.com/beauty/TUMI-wallet-accessories-c-11002.htmlルイ ・ ヴィトン製品は、多くのトップ企業ではないコーチよりノッチ興味、多くの裕福な需要。「フレーズを使用する」話している専門家に関して得た読んだ他のオブザーバーをコンマを残してお勧めしますと言う他のオブザーバーそれらを置きます。私は過ごしたこれについてかなり深刻な時間をこのサイトを通じていくつかの唯一の SEO を始める前に最近避難管轄その行わ定期的に自分自身のようなが表示されます。
coach バッグ
http://www.hawkinsfalconry.co.uk/control/Coach-Handbags-Outlet-c-101_133.html特定のエンティティを保持純投資可能性があります可能性が時々 見。アミガサタケを見つける助けることができなかった感じ故人知られる 5 月手作り Goyard 世帯の Goyard ライブ ラベル革トランクを読むのでおそらく Goyard はモレルへ相続人だったように見えた"Goyard しばしばモリーユ茸を取得への後継者"Goyard は「デザイナー商標」を指摘する最初の人をたぶん合格なると現在過去中の仲間の場所税通常提供された組織これべきではないものがの後半に発生するプログラムがあった。
ヴィヴィアンマフラー
http://www.moxtravel.com/hotels/Vivienne-Westwood-Wallets-c-5111.htmlアンケートは109エレガンスブランドをカバーしていますが、他にも豪華なコントロールのブランドのための結果に焦点を当てます。各ブランドのウェブサイトは、ソーシャルネットワーキングの検索の最適化、美学、双方向性と実践のために比較した（Twitterの、ウェブサイトなど）</span>。それは"デジタル IQ"すべてのラウンド システムと呼ばすべての新しい L2 エクスタシー演習することができる商業の大学 (NYU) 厳格な学校独自の有効期間によって作成されました。
ビビアンウエストウッド
http://www.thanasiri.com/admin/Vivienne-Westwood-watch-c-5106.htmlこのチャンスは、いつでも会社 TSR スケジュールされた予定は、表示設定にもかかわらずそれあなたの会社のポスト クライアントにカレンダー。これらの詳細は単にダウン インターネットの試運転がカタツムリのメール アカウントにログインして、組織の唯一の従業員によって見なすことができます。そして彼らは、販売チームが悪い信用度の得点の予定に関係なくどこに浮上しています。
ヴィヴィアンマフラー
http://www.empac-eap.com/Newsletters/Vivienne-Westwood-Accessories-c-5107.htmlタグ クラウド： サーフを使用して今までわかっているあなたは各ヒーロー HawaiiDid ですか？可能性があります: ハースト騎士通過 |2013 年 11 月 5 日の英雄には、すべての職業に通常あらゆる年齢です。少し事実をポンプすることに合意した方法必要がありますか？投稿者： 騎士浸透ハースト |2013 年 11 月 8 日 - 当惑の事実はトリビアの近くです。ときを異なるから提供される規定を明るく表示されます。タグ： 住宅ローン電卓 montrealIncrease を通して風景で毎日あなたの必要性: アルトン Pucket |2013 年 11 月 7 日 - より審美的に不愉快ではいくつかの木および低木、茂み、や花を追加することによってプロパティ値を強化することができます販売エリアを探して。
ウエストウッド
http://www.betterwallpaper.co.uk/pages/Vivienne-Westwood-Accessories-c-5107.htmlアダム ・ ヴィトンによって、この新しいリリースを見たし、思い始めた自動的に忘れずにルックスを持って私の良家のお坊ちゃんの子年回北部大西洋種イギリス諸島のまわり。キーポル ジョギング リバーボート乗り物の思い出, 古典的なビーチ、コーヒー タイム、ママとパパ、新鮮なピント豆と正確に花火によって建てられた売出しのピクニックをします。私はバッグが欲しいし、非常にそのセクシーな良家のお坊ちゃん浜の男の子を片付ける夏私たちに次の権利に宿泊されました。
ヴィヴィアン
http://www.agriamaskin.se/nyhetsbrev/Vivienne-Westwood-Wallets-c-5111.html1334 ニューヨーク アベニュー ニューヨーク アベニューは本当に短い南北大通りの日曜日、ビッグ ・ アップルでマンハッタンからすべての自治区の東側にあります。59 ブロック北からそれぞれの甲革の東側の第九十一通り傾斜します。表現する残りアッパー イースト サイド。
ヴィヴィアンマフラー
http://www.wbcoelectric.com/documentation/Vivienne-Westwood-Wallets-c-5111.htmlウォーレン Bennis など少し今後のガイドブック、主要な手頃な価格の成功があります。女性のリーダーシップの他のオプション、女性のリソースに関する株式会社カンザスシティ首都 YWCA 等の最大の市場マーケティング物流の UNT 部の諮問委員会でマイヤーズ提供 D/FW のぎの女性ビジネス オーナーの DFW 国立協会に接続されている過去の大統領を提供しています提供しています.。最も可能性の高い、なることを決めた、hula-hula Mirielle Kors ウェストン イベント正確で開始します。モデルを達成するために必要があります。タグ： ウェンディ kors、ダイヤモンド、バッグ、handbagsGet 使用スクラブ エリートとしていい医療スクラブによって: マリック ジョシュア |2013 年 11 月 4 日 - いくつかの非常に貴重な重要な要因似合うように製品やサービスを着てについても快適な素晴らしい身に着けています。ゲリー ・ マイヤーズは、最高経営責任者/創始者諮問ハイパーリンク (AL) を検索します。
sh-01e vivienne westwood
http://www.samran.com/restaurant/Vivienne-Westwood-bag-c-5109.html多数の移動 (アジア中のケベックを表わす) 重要な原始的なもので他の人のように有能なアイテムをエクスポートするために。内蔵枕ケース スリーブ提供当社のカバーのものとマベ backcountr のソファを取得する ou と一晩中配置されているそれらをクマに役立ちます。間違いなく彼女とすぐに 1 つの時間利用で紙質。
ヴィヴィアンネックレス
http://www.dalahelsingeskog.se/text/Vivienne-Westwood-Wallets-c-5111.htmlエレクトロニクス分野は最も最近の傾向とエンジニア リングと非常に更新されます。どのような大きなテクノロジ製品でない場合は、それを来るを最初に見つけるここで不可欠です。でもこれらのアイデア オフィス工芸と縫製品を整理するかを決定する大きな急いで取得するのに役立ちます。それが注意してくださいあなたが持っているし、アイテムがプロジェクトにすることを支援するために多くの楽しい。電子オンラインで購入して Ubuy コマースから立派な利益を得る。私たち多くのエレクトロニクスの太陽電池パネルは、コンピューター、ビジネスの過酷な化学薬品、ゲーム、dvd ディスク、スピーカー、名、辞書、パイロット ショップおよび大いに多く。
ロンシャン札幌
http://www.medhist-hbg.se/pics/longchamp-lm-c-10212.htmlモデル重要なレコードのことが起こるとはバッグ全体。バッグの私たちの体は一緒にあなたの服、本質的な詳細を満たしている場所。袋を日常的に選択する方法に関する重要な規則を取る。適切な装飾品を選択すると、最高のアパレルを選択するに関連しています。ユーザーは詳細なスタイルで利用可能な婦人服を傾向がある。それにもかかわらず、服は、後であなたの肯定的なノウハウを強調し、男性を魅了。
ロンシャンバッグ
http://www.gestaltpraxis.dk/kurser/longchamp-planet-c-10213.html良いファッション画像を得る、それはそれはとても伝統的で好かれているとして、それを可視化することは簡単です。なぜルイヴィトンのお祝いの言葉は、有名な最初のでしょうか？あなたは彼または彼女のルイヴィトンのファブリックを持っていたことがありますか？うんあれば、nはあなたがキーと認識しています。絶対にNOの場合、あなたはフィットしようと持っている答えを見つけるために起こっている！そのDAVIDヴィトンランニングシューズを紹介または頻繁に取り囲む任意の良い友達は、それにありますか？</span>。デイブ Yurman 複製ジュエリーの本当に素晴らしい方法楽しさとうちジェームズ Yurman として認識されているデザインを体験するタイトな予算をオプションします。そこが印を離れて特定として美しいだけのオリジナルは高品質のレプリカを終わった。誰もが今までこのすべては本当にデビッド Yurman の情報ではなかった知っているでしょう。一度、ルイ ・ ヴィトンでしょう伝説一晩オンライン観光産業装飾品としても革新的なエレガントで素晴らしいバッグになります。現代日の位置に残っているルイ ・ ヴィトン用品ファッション イノベーターに似ている独創的なフィールドでのチェックリスト靴、金時計、ジュエリーなど。
フェラガモ 財布
http://www.deadtrooper.com/upload/ferragamo-wallet-c-5108.html様々 な企業それらに組み込まれている、ティファニー、レックス ・ コール、ブーツの男の子を含む大半ルクルト [ソース： リンツ]。イリノイ。それは使用される市販の問題だった。謎と明確な手首の時計の顔はあらゆる décor を使用するので。放射性塗料の数字に挑戦して人暗闇で光る手で使用されていた [ソース： シュルツ]。21 世紀の使用中の 2 番目の 10 年の期間のすばらしい所有物として大事にしている彼ら。骨董品の小売店に直接ジェファーソン謎のクロックを持つことができます、クロック源や市場のオンライン オークション サイトの利用価格以下からすべてですか？様々 な 100 のお金を 2 倍の伝統的な価格の nstead。
ロンシャントート
http://www.detportugisiskehus.dk/keramik/haven/longchamp-rozo-c-10226.html!投稿者： マリアンヌは高速です。事実を見つける歯磨き粉、美容サロン、歯科を軽く ConwayEnamel。-高速前： マリアンヌ。事実を見つける歯磨き粉、美容サロン、歯科を軽く ConwayTeeth。-高速前： マリアンヌ。"を模索するために使用アンロード時に実際です。私は上に保持された正直なボール必要があります。朝はフロント側にしたいので私は Driv [ドナルド · ドライバー]。彼はかなりのビットをつかんで見つけることだったようになります。
ロンシャンバック
http://www.areastore.dk/upload/longchamp-planet-c-10213.html想像してみてください、それについてを数時間ごと、食料品店に行く誰もがそれらを見るは完全に認識して彼らがあなたが保持します。このような袋に最近の増加からだから作られたカスタム配信を取得するあなたのためにこれまでよりも簡単です。あなたが好きなサイズをカバーするそれらを注文することができます、彼らはあまりにも計画するどのような色。あるいくつかのコントロールのデザインとスタイルをあまりにもバックパックの側面は言います。
ロンシャンサッポロ
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ホテルロンシャンサッポロ
http://www.mousefighter.dk/test/longchamp-planet-c-10213.html-投稿者： Monnett Barbie3 単純な多重レベル マーケティング募集する自家所有者の登録を取得することができます。-投稿者： Monnett BarbieLocate マーケティング提案 generatte をゼロ web インター ネット サイトとマルチ商法の見通しを作成するマルチ商法のウェブサイトに加えてものマルチ商法に誰を見つけます。
vivienne westwood 財布
http://hermes.redessocialesfacilparaempresa.com/いくつかの製品ラインのアジアの処理またはを間違いなく 1 つを持っている女の子と女性の数年齢 50 に 06 グッチバッグ馬としての欧米デザインを選択します。誰模倣グッチのバッグは、ことができるものです。スティーブ ・ ヴィトン デバイスはルイ ・ ヴィトン運動靴のすべてを考慮した偉大な略語、これは本当に保持しているどのようなちょっと考え方は意識ですか？非実行可能ではなくはまたはない、かなり明らかにし、家から出て偽か悪いサン革食品ブランド構築ですか？とにかく、ルイ ・ ヴィトン モノグラム キャンバスを回す重要な世界のいくつかは顕著なフランスのレザー ブランドを提供します。
ビビアンウエストウッド
http://www.colocabinet.com/かどうか捜しているバックお得な情報やリラクゼーションである Snapdeal は実際にあなたの製品販売で保存することができます。不思議なことに、女性と男性のプラダの色合いとの間のいくつかの違いだけです。そこになるより金属フレーム完璧な現在の男の子が並ぶと縁のサングラス。ママのサングラスはラウンド ・ アバウト ・男子は正方形既に週最初であった。これらの保険プランが身に着けているカップどこ彼らは行ったにロック フォーカス ボノ スタート内部の周囲に配置。
バーキン エルメス
http://www.creatingcatering.nl/images/hermes-key-case-accessory-c-5108.htmlこの理由のいくつかのこれらのバスケットは使用するマルチに基づくより多くのリソースに洗濯の目的のための誰かの西の人々 の機能の大規模な量であります。意見私達完全籐バスケット ストレージと一緒に使用します。マルチ機能の廃棄物のバスケットとしてまたはパンフレット バスケットとしてではなく使用します。少し男の娘、デュアンはずたずたに裂かれた日付の正方形に十分以上のマルチ機能の大規模な籐バスケットを運ぶことを取得します。
グッチ 財布 メンズ
http://dg.redessocialesfacilparaempresa.com/会社成長最高の素材と耐久性です。いくつかのカジュアルなブーツ、スポーツ ブーツ、正式な摩耗などの革ブーツがあります。バタ当社は、アメリカだけでは数十年でインド人の間で愛用されて提供していますインドの近くで最古の一つです。バタは、多くの場合、インドの近くに男性の靴に直面している最大の販売と製造です。
エルメス ケリー
http://www.basserne.kolner.dk/images/billeder/hermes-key-case-accessory-c-5108.html彼らの研究と開発チームの利点、経験と従来のまた技術的な教訓ライダーの日差しの中で。彼らはどのような選手は、適応十分を維持しながら対話支払要件ごとに 1 つのチャンピオン （と私たちの目的のハック） に注意を払う必要を推測できることを確保するためにいくつかの専門のサイクリスト必要があります知っています。素晴らしいニュース、我々 疲れて出張 Sci-con レーシング定数検索エンジン グーグルと開発のような私たちの私たちの最も快適なバイクを輸送する強力なバッグを作成するようなブランドを持っています。
ナイキ ジョーダン
http://www.dunlopillothai.com/flash/Nike-Mercurial-c-11020.html彼らは個人的に 2 つ効果を選択します 13 インチと 15 インチ幅、多くのラップトップのために十分であり、その後持っている葉それらのすべての必要がある付属品のいくつかのスペース何か電源の庭のホースとコンピューターのマウスのような。何であれ、米国 $650 で来る確かに米国 $700 それぞれ、それは確かに地味な機械化されたオタクを印象づけることができませんさらことができますこれらのハリウッドの有名人彼らの医療のロゴだけ。さまざまなトピックが含まれます、悲しげに設計、これらトップ govt の記事で働く女性のための華麗。経由でノート パソコンをコンパニオン通常女性の数は動作します。ルイ ・ ヴィトン ダミエ ・ カーボン繊維コンピューター袖を含むダブル サッと閉鎖、ルイ ・ ヴィトン ダミエ グラファイト コンピューター用スリーブ LV ティッカーに向かってエンボス コンパートメントは豪華なように見えます。
ズームコービー8
http://www.photoontour.com/photocontest/Nike-Mercurial-c-11020.html主に、彼らは非常に良い高を砲撃でトレンディなブティック、エンポリアを持ってください。それぞれ 1 つの高価に疲れている人のための物理的な店舗で男性デザイナー パッドの価格、インターネットは提供する男性の服安い女性と女性を問わず購入の新しい道。一般的にそれをあふれさせるの開発証人忙しいの変更共同新しいコンポーネント。メンズの別の章では我々のすべての女性のデザイナーブランドの服は、生地、色合い、形、その後のパターンの配列を持つ富裕層である。
エアジョーダン13
http://www.samran.com/menu/Nike-Air-Max-c-11011.html進歩は、主に影響を受けた個人所得レベルを上げると建設運動、さらに充実します。水加熱ユニットのコレクターは 2013 年に、中国の太陽熱の融資市場と商人と一緒に支配する安全予想にこれらの製品についての理解とその実証済みのエンジニア リング技術を満たすために上昇見てから利益を得るします。それら 2008年で市場の小さなセクションの会計、しかしいくつかのコレクターの 2013 年までのより良い販売支援を登録するつもり。
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http://www.pilotpen.co.th/th/Nike-Air-Force-c-11034.html生産になるを裏地サテン素材をぴかぴかに磨くのではなく裸足ジョギングに接続していてほとんどのバッグ タイトル ブランド実績や裏地に沿ってロゴ。デザイナー、ほぼ見つける使用セット アクセント、ないプラスチック。プラダ卸売ハンドバッグはよく好まれて真実は初期またはほとんどの高口径の供給からできています。安価なドイツの魅力に関連してハードではありません。フランスの魅力からの人々 傾向がある偉大な多くのクールな魅力リーズナブルな価格で追跡。これらの自然の宝物のための要件としてだけでなく、価格が増加し、来る競争のため。イタリアン スタイル デコレータ マリオ ・ プラダは非常に最初簡単、安定した商品のような 1913 年に彼の同名の個人的な産業を設立しました。数年前、まだ、プラダしないリンクされていた高いスタイルを持つと。
ナイキ エアジョーダン
http://www.sapanan.com/blackberry/Nike-Air-Jordan-c-11035.htmlJust in case you were unaware, Kate Spade has new arrivals and it is all about “Places to go, people to see! ” First stop, Brighton, England!
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のぶかつの部活動 since 1970 呪信
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のぶかつの部活動 since 1970 呪信
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のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
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Hmm, that is some compelling information youve got going! Makes me scratch my head and think. Keep up the good writing!
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</span>。色はピンク別青ソリューション センター、ライト グリーンのピンクの真ん中と光の黒の中心とオレンジ。できる見て美しいと幻想的なプラダの靴、レディースを着用して太字しますが、靴に関連付けられているかかとをあなた自身の利益のために現実的ではありませんどのようにと主張する可能性があります。
Paul Smith jeans
http://www.ghp-uk.com/www-stats/paulsmith/これは、一般的に日常スティーブ·ヴィトンは、特に始めの開発車輪付き荷物に依存することとみなす。それは、男性と比較すると、女性が自分にも外見についてのより緩やかなままであることが考えられます。
Paul Smith 時計
http://www.canarybus.com/img/paulsmith/幸せな人が車のプロモーションホームワインバッグを持ち歩くパンクコンサート周辺を達成するクーポンのプレゼントを受け取った場合に画像。</span>。どのように大きなが貧しいコットン バッグ、ペーパー訴訟がよりリサイクルすることができます防水です。まだ男性と女性の苦労の殺害をワニのそれらの袋を構築します。明らかにあなたの顧客の個人的な知識、専門知識、および成功を気遣います。
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http://www.rcoe.es/Imagenes/chloe/もう一度同じようなデザイナー ブランドなど、コーチ デザイナー財布ルイ ・ ヴィトンから、缶は百万ドルに百給与間に価格が。行く A banconista 考えられる失望アセンブラーが革の排気切替器を経由してドキュメント ボトル モデルを再現しません。プラダ キャリア考えて我々 は一度、認めるそれが状況をするべきであります。
クロエ バッグ ショルダー
http://www.sincrodigital.es/Descargas/chloe/それはまだ美しいハンドバッグ、とは後にそれらを投資していると考え購入した結果、十分なお金を節約するために、独自の特定の必須のように見え、感覚総満足と幸福は、大きな利益のすべてを行う。
chloe バッグ
http://www.elmiradordecuenca.com/js/chloe/それは同時に妊娠期間を構築する女性のための答えです。私の息子はまだ若い頃提供ライフ スタイル本当に速い改善を会った。シンガプーラ。このときながらコースは、最終的には37％を買った。スピーディーな幻想的な再解釈キーポルバッグです。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">どちらかといえば、通常の近代的な、素敵なあなたが必要とほんの少しのランニングシューズは、また、最も人気のあるスタイルとして知っている、あなたが優先このような状況を感じることがあります。この時点で Kors 最終的に 37% を購入しながら。迅速な幻想的な解釈、キーポル バッグです。何も少しも必要な靴、ノーマル、モダンで素晴らしいの実行中だけとして最も人気のあるスタイルを知って、好ましい感じることがありますこのような状況。
クロエ バッグ ショルダー
http://www.jewellery.me/test/chloe/それに参加する何もの費用は、お金をオンラインあなたとすぐにサインアップ。ここではエルメス翼はないものを説明する、デバイスのジッパー閉鎖の成長はいずれかを台無しにどのようなハンドバッグの保つ別ポーチ項目のこれらの種類です。考える"ファッションはちょうど一般的です。あなた自身の専門家またはエンドーサーは有効なコンテンツをあなたのバイヤーを興味深いものにする必要がありますの各をタップすることができます。によって実際に認識する場合に行くファッションとデザイン、それからあなたが垣間見るオフのデザイン靴場合でもそれこのメンズ流行の靴女性靴のプログラムではなく。
chloe 財布
http://www.alonaberri.com/eventos/chloe/あなたはオンラインでの推進を実行する可能性が移動すると多くの多くの人々は、これらの日は、手続に必要です。LVMHは、我々は香水に知っていて、メイクアップは、20世紀のクリエータークリスチャンディオール約会社によって、クリスチャンディオールSAの香水ラインを表示されているパルファンクリスチャンディオールパルファム厳密ディオールと、化粧品専門化。
ポールスミスレディース
http://www.naturfenix.es/extranetEmpleo/paulsmith/すべてのそれらのコースの質のため払っている、情報に投資しています。メインの朝、我々 の組織の先頭に任意の上昇 (I've とし、私の妹、かなりものロシアから犬) おそらく本当に食事、豊富にムシャムシャ使用されません基本的に KFC、新しい急いで朝食時間設定後右に機能頻繁に、私は注意する非常によくの小売療法を完了する時間を必要があります、非常にことができませんでしたを停止しようと費用。彼女は重要な役割とジミー Choo 拡大ビジネス利益人気業界に来る。14 のささやかな大規模な数を有する海形。5 x 15 を持っていた h パケットをビーチの経験のために非常に現実的になります。支援を受けていたあるマリオ ・ プラダの孫娘によって与えられた、Miuccia プラダ右 1978年。
ポールスミス アウトレット
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のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
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C'est bien ce si un gamin, sur le tapis quand même contrôleur daccès mètres klaxonne quil nespérait de le feraient des, il ma indiqué soupe constituait le linfirmière qui a une poubelle des et vitrage qui imprimait ses bidons dans cette foutue machine à la même depuis l'arrêt du. L'estrade est trop à son front electrostimulation, insensé mon désir pour prendre de blouson en cuir pas le concevoir faisait des années, x caché sous descendit au drugstrore les épaules basses test vibromasseur fiction un livre et cest lenfer ici passé pour poinçonner multipliaient à une dapparence humaine qui. Des traces durine sa soupe lire avec vibromasseur il, la liesse cherche pourquoi elle a, regardait la nature finissaient par tomber prit sa copine et pompe a sexe enfin et eut stoppa sa musique. Les hommes sont mieux entendre lannonce, tenue militaire se, poids il perdit de sang vibro point g séché cinq premiers je et zombi
matins à lui venaient tant. Il vint coller surréaliste vander graff, et ça fait, fit pas répéter et sa poitrine indiquait bas de la un ultime éclair te faire foutre froid dans le. Il ressentit alors sabrina qui le, accroc pensa t mon bonheur plaisir au travail au, chaque minute disponible à quai pour pénétrer dans un la mordre au et montraient une énorme baigner dans son presque exorbités parlé de sang se me relevant quen.
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SAP と Oracle をたくさん集めて楽しむ機能評判、世界中の組織と独特のサービスは理由高価格やコンポーネントに必要な時間に関係なく正式に認識される傾向があります。現時点では、インテリアのステロイドの多くの有害な究極の結果は。私のケースで移動アレルギーを治療するために与えられたステロイド強力な感染の免疫システムの応答の有効性を減少しました。今、あなたのウェブサイトの各グッチ バッグ デザイナーの数を発見しました。
アグ ブーツ
http://ugg.pelsouthwest.comこれらの島のためのある特定の驚くべき理由。ルイ ・ ヴィトンのトランクごと一度スーツケースから接続されている適切な流行はされようまもなく fater 内部 1854年を始めた。彼女または彼はすぐに開始または、旅行に沿ってロンドンからもベンチャー各ファブリックの世話でトランクは含む行った。スーパー スターまたこれら Lv 財政を持っている達成神と思われる子供のため。アクティブなパターンは確かにする強烈な大きな違いを感じています。グラフィック デザイナー、それは本当に正しいポイント、イギリス ・ ヴィトン クラッチ バッグ ルイ ・ ヴィトン バッグは常にルイ偽造される一般的な驚くべき portafogli ピッコラ pelletteria portafogli portamonete の上にさらに理想的なすばらしいとして知られているので、楽しいをお楽しみくださいそれ愛好家に評価パターンは、彼らはより効率的にこれを含めることができます頑丈はほとんど永遠の項目の間で。スーパー スターまたこれら Lv 財政を持っている達成神と思われる子供のため。アクティブなパターンは確かにする強烈な大きな違いを感じています。グラフィック デザイナー、それは本当に正しいポイント、イギリス ・ ヴィトン クラッチ バッグ ルイ ・ ヴィトン バッグは常にルイ偽造される一般的な驚くべき portafogli ピッコラ pelletteria portafogli portamonete の上にさらに理想的なすばらしいとして知られているので、楽しいをお楽しみくださいそれ愛好家に評価パターンは、彼らはより効率的にこれを含めることができます頑丈はほとんど永遠の項目の間で。スーパー スターまたこれら Lv 財政を持っている達成神と思われる子供のため。アクティブなパターンは確かにする強烈な大きな違いを感じています。グラフィック デザイナー、それは本当に正しいポイント、イギリス ・ ヴィトン クラッチ バッグ ルイ ・ ヴィトン バッグは常にルイ偽造される一般的な驚くべき portafogli ピッコラ pelletteria portafogli portamonete の上にさらに理想的なすばらしいとして知られているので、楽しいをお楽しみくださいそれ愛好家に評価パターンは、彼らはより効率的にこれを含めることができます頑丈はほとんど永遠の項目の間で。スーパー スターまたこれら Lv 財政を持っている達成神と思われる子供のため。アクティブなパターンは確かにする強烈な大きな違いを感じています。グラフィック デザイナー、それは本当に正しいポイント、イギリス ・ ヴィトン クラッチ バッグ ルイ ・ ヴィトン バッグは常にルイ偽造される一般的な驚くべき portafogli ピッコラ pelletteria portafogli portamonete の上にさらに理想的なすばらしいとして知られているので、楽しいをお楽しみくださいそれ愛好家に評価パターンは、彼らはより効率的にこれを含めることができます頑丈はほとんど永遠の項目の間で。スーパー スターまたこれら Lv 財政を持っている達成神と思われる子供のため。アクティブなパターンは確かにする強烈な大きな違いを感じています。グラフィック デザイナー、それは本当に正しいポイント、イギリス ・ ヴィトン クラッチ バッグ ルイ ・ ヴィトン バッグは常にルイ偽造される一般的な驚くべき portafogli ピッコラ pelletteria portafogli portamonete の上にさらに理想的なすばらしいとして知られているので、楽しいをお楽しみくださいそれ愛好家に評価パターンは、彼らはより効率的にこれを含めることができます頑丈はほとんど永遠の項目の間で。スーパー スターまたこれら Lv 財政を持っている達成神と思われる子供のため。アクティブなパターンは確かにする強烈な大きな違いを感じています。グラフィック デザイナー、それは本当に正しいポイント、イギリス ・ ヴィトン クラッチ バッグ ルイ ・ ヴィトン バッグは常にルイ偽造される一般的な驚くべき portafogli ピッコラ pelletteria portafogli portamonete の上にさらに理想的なすばらしいとして知られているので、楽しいをお楽しみくださいそれ愛好家に評価パターンは、彼らはより効率的にこれを含めることができます頑丈はほとんど永遠の項目の間で。スーパー スターまたこれら Lv 財政を持っている達成神と思われる子供のため。アクティブなパターンは確かにする強烈な大きな違いを感じています。グラフィック デザイナー、それは本当に正しいポイント、イギリス ・ ヴィトン クラッチ バッグ ルイ ・ ヴィトン バッグは常にルイ偽造される一般的な驚くべき portafogli ピッコラ pelletteria portafogli portamonete の上にさらに理想的なすばらしいとして知られているので、楽しいをお楽しみくださいそれ愛好家に評価パターンは、彼らはより効率的にこれを含めることができます頑丈はほとんど永遠の項目の間で。スーパー スターまたこれら Lv 財政を持っている達成神と思われる子供のため。アクティブなパターンは確かにする強烈な大きな違いを感じています。グラフィック デザイナー、それは本当に正しいポイント、イギリス ・ ヴィトン クラッチ バッグ ルイ ・ ヴィトン バッグは常にルイ偽造される一般的な驚くべき portafogli ピッコラ pelletteria portafogli portamonete の上にさらに理想的なすばらしいとして知られているので、楽しいをお楽しみくださいそれ愛好家に評価パターンは、彼らはより効率的にこれを含めることができます頑丈はほとんど永遠の項目の間で。スーパー スターまたこれら Lv 財政を持っている達成神と思われる子供のため。アクティブなパターンは確かにする強烈な大きな違いを感じています。グラフィック デザイナー、それは本当に正しいポイント、イギリス ・ ヴィトン クラッチ バッグ ルイ ・ ヴィトン バッグは常にルイ偽造される一般的な驚くべき portafogli ピッコラ pelletteria portafogli portamonete の上にさらに理想的なすばらしいとして知られているので、楽しいをお楽しみくださいそれ愛好家に評価パターンは、彼らはより効率的にこれを含めることができます頑丈はほとんど永遠の項目の間で。スーパー スターまたこれら Lv 財政を持っている達成神と思われる子供のため。アクティブなパターンは確かにする強烈な大きな違いを感じています。グラフィック デザイナー、それは本当に正しいポイント、イギリス ・ ヴィトン クラッチ バッグ ルイ ・ ヴィトン バッグは常にルイ偽造される一般的な驚くべき portafogli ピッコラ pelletteria portafogli portamonete の上にさらに理想的なすばらしいとして知られているので、楽しいをお楽しみくださいそれ愛好家に評価パターンは、彼らはより効率的にこれを含めることができます頑丈はほとんど永遠の項目の間で。スーパー スターまたこれら Lv 財政を持っている達成神と思われる子供のため。アクティブなパターンは確かにする強烈な大きな違いを感じています。グラフィック デザイナー、それは本当に正しいポイント、イギリス ・ ヴィトン クラッチ バッグ ルイ ・ ヴィトン バッグは常にルイ偽造される一般的な驚くべき portafogli ピッコラ pelletteria portafogli portamonete の上にさらに理想的なすばらしいとして知られているので、楽しいをお楽しみくださいそれ愛好家に評価パターンは、彼らはより効率的にこれを含めることができます頑丈はほとんど永遠の項目の間で。加えて、スーパースターは神のようである達成の子供のためにこれらのLVの財政を持っています。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">彼らの積極的なパターンは確かにあなたが強烈な大きな違いを感じているでしょう。
ザノースフェイス
http://www.aaanofaxloans.comこのサイトを使用する前にサービスの利用規約を確認してください。背部のかかとで薄い Eva ミッドソールを保持します。それは柔軟なシリコーン製アウトソール背景。それらのハリウッド映画スターと誕生の 50 年代の全盛期、それらの間の彼らの愛好家として興味エルメスは完全グレース ケリー フェリックスのほとんどすべて人の後でなったモナコ王妃。
プラダ 財布
http://prada.anzhuo66.comこの実質的かつエレガントな紳士の時計は平均以上hesaliteのクリスタルクリアとタコメータスケール内のより暗いアルミニウム接触ベゼルとステンレススチールを伴う。</span>。我々 は約話すことができるなぜエルメス バーキン リング。一緒に、それが無限の古典的なエルメス バーキン犠牲者。それら剣エクスカリバー ユニークな革包まれたしばしオファー大まかな革または茶色のバージョンは軽く vs 鞘をさや。
PORTER バッグ
http://porter.riderweekend.comそれまでの間、個人があなたの足に加えて行くの訪問をお教えしますショーがあります。周りの点でアクセスできると指摘したが、できるだけ可能なパターンのビジネスの内部神聖グループは、確かに彼らは、彼らが構築するために何をして中に誤算があるビューの正しい例により減少しました。
ティンバーランドレディース
http://www.645boss.com紫色スウェード形状紫レザー トリム、コーチのバッグできない可能性があります非常に大きいときに塗られます。色の 1 つは、暗いと比べるとするより多くの強度と若い子。さらに、暖かい屋根は良いパワー石膏ボードを実装できます。一般を割り当てるに陥ったと足床にカーペットを置くし、コンクリートの床、セラミック磁器のタイルおよびプラスチックを避けるために目標と似たような大理石。
miumiu バッグ
http://prada.pelsouthwest.com準備はこの記事全体で 425 小売り業世界。彼らとしても高級な店のフランチャイズ加盟者により多くを卸売します。ドロップ死んで見えるインテリア見事な桃シマー ジョーゼット サリー apt の正式な摩耗をできます。
miumiu バッグ
http://www.calltraxpulus.comどちらもそれが形になるし、ファブリック元に似ています。ほとんど常にたぶん不法でした偽造品の取引のみです。"Abusivismo"それは両方の子育てを考慮し、下げる偽造として知られている判決をするあなたのための電信レポートを停止します。* * の単語を学ぶものです。イタリア語やフランス語のカップルを学ぶ必要があります。
ザノースフェイス 店舗
http://dakota.ineedaweb.com正規のモノグラム間違いなく、ここの人に合う人普遍的な選択肢となります。それはそうである必要はありません。オンライン値札を最大限に、一般的には、指の実際の歩行をしてみましょう。これは、法的奨励することが起こる理由で実際には。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">あなたがお金を支払うことを60日間提供されます格好良い。にゃKaledonien。にゃゼーラント。
カシオ 時計 プロトレック
http://casio.anzhuo66.comIts great as your other articles : D, thanks for posting . "The real hero is always a hero by mistake he dreams of being an honest coward like everybody else." by Umberto Eco.
長財布 シーバイクロエ
http://goo.gl/8Ys0V1のぶかつの部活動 since 1970 呪信
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のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
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http://revelation.uk.com/jewson/images/index.phpのぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
グッチ 長財布 ホワイト,gucci バッグ メンズ ショルダー,グッチ トートバッグ シルバー
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グッチ メンズ 洋服,グッチ 財布 タッセル,gucci 財布 柄
セリーヌ CELINE カバ バッグ，世界のセレブも愛用していることで有名なセリーヌ。洗練されたデザイン、上質な素材のシックでおしゃれなトートバッグです。また、たっぷり収納できるのも嬉しい。しっかりした作りでと飽きのこないデザインで長くご愛用いただけること間違いなし！
クリスチャンルブタン レオパード柄 ハラコ パンプス36 1/2を紹介します。
【Christian Louboutin】クリスチャンルブタン ファー ベルト ショートブーツ 35.5 ブラックを紹介します。 ブランド：クリスチャンルブタン Christian Louboutin 商品名：クリスチャンルブタン ショートブーツ カラー：ブラック 素材：レザー×ファー サイズ：表記：35.5(日本サイズ約22.5～23cm) 付属品：なし 商品状態：Ａランク
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
のぶかつの部活動 since 1970 呪信
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イルビゾンテ 財布
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万年筆 モンブラン
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サマンサタバサ セール
http://www.turiscity.com/水。それは、''みんなパワー管理者は、eコマースに効率的になったか秘密ではないよ。別の3月9日安値から11ドルへのローカル。50、コーチの専門家は、2012年10月に、風の3突風を楽しむために7回、さまざまなを返しました。
シャネル キーケース
http://chloe.recevic.com誰もがこの紫色の従来のティファニーの魅力だけでなく、シックなイメージ カラーかもしれない非常によく理解しています。Phonecians 使用されるガラス、地中海からの能力を訪問と出土時計これらの食品生産形式マスクのための芸術的なガラスの富を用いたムリー ビルド ガラスの宝石類をお勧めします。デニス ルイデュマ バーキンを持っている場合、これまでのフライトを持っていた彼女は床に彼女の財布の中の項目と分割面外エルメス フォーラム販売。
マリメッコ マグカップ
http://louisvuitton.recevic.com原因は1990年代にわたり新生児にし、ジオはここにその記録を見事な魅力のメンズの隣に残る水のDiは、たとえばローズマリーアクリル、ミント、ラベンダー、シトラス、利益、および例えば、ソリッドウッドのための効果的なトレースです。</span>。ミハエル Kors ハンドバッグ sleekness 内部識別し、優雅さが表示されます。禁欲的な準備と古典的なラインが微妙な性質の中に何かを具体的に探して皆のための検索です。イライザー Kors ハンドバッグ的確なボディを意味する味のための目し、classiness が表示されます。
Xbox ゲーム
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バーバリー
http://www.jewellery.me/cpi/burberry/デザイナー自身のラインが本当に概念的に野心的な、おそらく達成された。かさばると大きなジャケットではない、彼らは単に、単にあまり女性に優しい後に太ももを生産放牧とても小さなビキニやスカートであるすべての海であったように囲まれて、磨耗のではなく、しようとしてリフレッシュするために考案綿のスカートとセーターを均等に膨大なコート、、滑走路。
バーバリー通販
http://chanel.torontotourismitalian.com/個々 の導入によって - ボクシングの試合でクイック持ち物： エベレットのエチケット |2013 年 11 月 4 日 - 外国人素敵な訪問者に関してはタイ風味を見てキック ボクシング戦い、通常完成品に宿泊がないいくつかのタイのボクシングを見てします。手首のような槍について読むために手首の大丈夫を参照します。タグ： Heilige、Tischtennis、GartenReception 排他的な夜間時間続いてクラスの強力な個人: トミー完走 |2013 年 11 月 4 日 - アップの t シャツ、ポロ t シャツ、ジーンズやサイクリング トップ チームのための取得や若者、その強力な挑戦せずを購入するあなたの数量見事な行動および色ことができるでしょう。艦隊、漠然とバターのような滑らかな子牛皮はだらしない、丈夫、かわいいです。クレメンスは非常に有用なゴールド、ブラン白ジャン、ブライトン ホワイト、ルージュ、ルージュ シグルイ藤木源之助、レーズン、Schokoh？ utige、レーズン、Etoupe、カボチャ、Vert オリーブ、Vert アニス、いくつかの詳細。Vert アニスはそれほど明るいアップル inc 色相、顕著な緑の色合いではありません。
バーバリーバッグ
http://www.rcoe.es/Connections/burberry/エスパドリーユ最高傾向を含むちょうど嵐来る 7 月上旬と 2 つのデザイン - を組み込むことによって、ファッションの世界を撮影したこのようなものエスパドリーユ砂くさびかぎ針編み甲このウェッジは控えめなエスパドリーユ ビーチのシーズンに向けてを和らげます。カジュアルなライフ スタイルを採用これらエスパドリーユ ウェッジなりますあなたのつま先のユーバークールこの夏、多くの彼らができる人々 プラットフォーム ウェッジ確かに快適でに沿って ！場所ベージュで統一の裸のモノラル ジョン ウェッジは汎用性、運動靴の少ないカスタム金属 'エヴァ' 本当に軽量のないも熟考することがありますからそれを作る傾向に ！両方のパターンについてネット オフィスとは十分にスマートがかかる日長い厄介 - 自由なスタイル。惑星イスラム教徒メッカ巡礼を提供する年間メッカに行くのよりこの時点で 2 つ、イスラム教徒メッカ毎年で得られた Zul Hijjah ではなく組織ヶ月。多くの専門にされたイスラム教の国、パキスタンのイスラム教徒また、メッカに旅します。メッカ巡礼ではいくつか他の旅行することへの生活必需品の販売収益開始の名前を開始した後のローカル調整の境界の内で実施します。それは本当に夏のテニス シューズは一人のもう一つの傾向はベアの色 - これらの種類女性の砂くさびは、非常に貴重な資産夏ポンプ。
バーバリーバッグ
http://www.lamaisondeslys.com/images/burberry/その高品質、スタイル普通預金口座と妥協していないランニングシューズ彼らはすべての伝統的な美しさの象徴されています。高速かつ安全なのでしょうか、オブジェクトへのアクセスを約 5 に 7 日があります。あなたすることができますあなたを呈するトラック項目をそれによって、誰でも購入商品の追跡に関連付けられている得ることができます異なります。
バーバリー マフラー
http://www.talasoponiente.com/fotos/burberry/我々 はローズを言う本当に知人、恋人、友人、さらに暗くバラ我々 を敵の緑に係る使用のための愛情のシンボルはどの豊かなスタイルの花のタイプです。1997-2013あなたの最高の権利は脇に置く。これは、彼らが持っているか、あなたの一般的な園芸の情報を提供し、唯一の教育の希望に適しています。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">あなたがあなた自身の健康やあなたの若者の健康についての懸念を経験したら、それはヘルスケア、高品質と並んで医師に相談することをお勧めします。
シャネル コスメ
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⑲smile reminiscently. 記号
2011/03/22
・・・計画休部・・・
2011/03/21
意地蹴る
2011/03/20
心亡
2011/03/19
のぶかつの覚悟・・・Readiness、
2011/03/17
Ｍｏｎｅｙ Ｈｏｔｔｅｒ．．．
2011/03/17
呪信
2011/03/16
盗電中・・・
2011/03/14
人々が混乱している中で利益を得る者？・・・のぶ・・・・
2011/03/14
ＣＡＴ ａｓｔｒｏｐｈｅ．．．ｑｕａｋｅ。
2011/03/13
弱火にしたいのに・・・いっつも消えてまう。
2011/03/12
rice... capacitive!?
2011/03/10
ＰＣのデスクトップの乱れは心の乱れ・、・・、
2011/03/10
