のぶかつの部活動 since 1970
Do you know the answer to this riddle?
LIES MARS OF THE NOBUKATSU・・・





ぷかぷか
















もうなんか

今週は部活動にかまける時間ないけども・・・

意地でも一日一記事の更新を維持している。



いつの間に・・・・・・・・



lies of the apes


元の話は現在の日、ヨンフランシスコスコで設定された場所を

類人猿の知能の発達との覇権を握るための戦争の発症に

遺伝子工学のリードを持つ男の独自の実験。















うちょつきぃ



天才はいる。

悔しくないけれど・・・





















timpo roth




今日、TSUTAYAからmailがあった。『5/27~5/29まで100ベリーで

DVD貸しまっせって』だって。

いつもお世話になってます。

僕を救済する為に赤字覚悟の企画だったろうに。ありがとう。













干された~

「家計も助かり感謝いたしますデス」









                                   かんじにん












一休デス



DVD返却



「いっぱい狩りなあかんやんか~」

















ブレンダ~ん キック


「でも、見る時間がないんじゃ ばっきゃろ~」


















PINOCCHIO.jpg
「今週は眠る前に テラフォーマーズを読んでねんけど

面白いのに途中できっちり堕ちて次の日に続きを読むっていう

バターンに陥っておるのだが

昨日、読んだテラフォーマーズのエピソードはなんかやるせなかったデス。

女性が○○された上に首チョンパっていう残酷さ

いい人物ほど即死

いくらフィクションといえども、リアリティに溢れてた。

っと、書きつつもぐっすり寝てもうた僕はなんなんだろう?」


















YOKOYA~


「あれだっせ 原発もえらいことだっせ

今は大丈夫かもしれんけど、放射能の影響とは?で

いろいろ調べたんでっけど、十数年後が怖ろしいと想う。

目に見えへん世界やから気づかないだけであって

今後の動きを見守るしかおまへんな

しんどなってきたんで 今日はこのへんで・・・」




















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福田:「本当に洋服ばっかり買ってたから。一緒に飲みに行くのも洋服関係ばかりだったし、どっぷり浸かりすぎて覚えていないことも多い(笑)。僕はその反動で今いろんなライフスタイルに目が向いてきているような気もしてます」
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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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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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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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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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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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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.
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 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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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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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.
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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.
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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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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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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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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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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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.
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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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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Fashion and Gender
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.
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 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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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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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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Fashion and Gender
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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.
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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.
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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.
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.
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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.
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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.
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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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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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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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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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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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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.
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.
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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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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.
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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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.
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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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.
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.
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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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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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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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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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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Fashion and Gender
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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.
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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).
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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).
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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.
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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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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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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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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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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.
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.
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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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.
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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漆は、新しい環境外乱できます取得バッグはから作られてセット ソフトマテリアルを台無しにしないことを確認します。自分をドレスアップで個々 のハンドバッグの新しいと言うまさに、有名人の生き方に任意の情報を作成する努力を拡張します。エルメス トートバッグやプラダの袋場合、彼らはそれを把握することができます。いずれかの自分に関係があるでしょうか、頻繁に行う健康または学者学生の健康、医師や他の医療ビジネス関連にご相談ください。
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Questi orologi non procederà sicuramente inferiore a $3, mille candela nuovissimo cons originale.Quando la quantità monetaria è circa $500 o 1000, presentato pensateci due volte con quella.C'è una possibilità sorprendente che è falso completa.Se si potrebbe comprare Chanel usato vino cesti regalo online, sempre semplicemente ottenere le immagini dal sacchetto prima capiscono la sua condizione.Tale situazione non dovrebbe sorgere poiché si riceve anche un sacchetto maturo dopo immersione e che ha preparato il senso negativo.
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2014-03-02 Sun 03:56 | URL | louis vuitton portafogli #EBUSheBA[ 内容変更]
Se fate qualsiasi preoccupazione se stessi con la vostra salute posses o l'idoneità della tua minore, è necessario soddisfare sempre con un medico o altro professionista sanitario.Si prega di leggere l'informativa sulla copertura e Tos prima in questo sito.Del vostro cuoio morbido pulito imitazione pelle di agnello frizione è in realtà una borsetta di mid-range che è sottosopra splendidamente diffusi borsa nera in pelle-basato.Questo borsetta vanta un costo di $1, 145.Piccolo Quilted agnello Camelia trasportare costa un numero di cento Nichel più, spiegando altrettanto per quanto riguarda attraente.Esso ha una dimensione di un 13 "x 9" da 3.5 ", così è sufffering da una capacità in armonia con il suo nome.Relativo set catena interlacciato è anche importante squisito: shinny hardware onice nera con interni di pelle di daino bianco.
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2014-03-02 Sun 03:55 | URL | louis vuitton orologi #EBUSheBA[ 内容変更]
Loro carta plastica è barba e solitamente nero facilmente oro posta di superficie.Ricerca di variazioni di colore, se ben simulato variazioni di colorazione spesso è piuttosto sottile e così faccia un'ispezione delineata insieme con l'odore di cuoio anche per lo rende genuino, si poteva sentire sciocco fare questo, ma in altre parole per raccontare in particolare se esso creato in similpelle vero che tutte le borse del progettista sta per essere.Come può visualizzati? Se età così definito tote ha fruscio economici plastica in tutto i manici dopo di che è possibile una sorta di segno sicuro che possono il falso buono, può solo sarà sminuire una grande borsa.
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2014-03-02 Sun 03:55 | URL | Louis Vuitton Sito Ufficiale #EBUSheBA[ 内容変更]
Questo rappresenta di senso regione un modo alternativo per borsetta decidere sulla pubblicità online che può causare.Può essere difficile prendere in considerazione un amico Peekaboo.La Zucca Peekaboo Tote è senza dubbio un'icona.Borse rinnovabili sono probabilmente la soluzione.Verde sacchetti biodegradabili migliore alternative, una volta distrutti in discariche di rifiuti, la è legale cruciale, l'ossigeno, e pace cambierà questi bagagli in strategia, anidride carbonica, sali minerali, così come ogni biomassa.Dal metodo della foglia caduta, sparirà sopra lasciare intero tempo basso residuo nocivo prima del suolo.Sua Visualizza Campon trapuntato Multipocket borsa è quel cloture zip con le sacche variegate ognuno fuori collettivamente con interno piano bella amenità non strutturali.
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2014-03-01 Sat 21:47 | URL | louis vuitton occhiali #EBUSheBA[ 内容変更]
Inoltre limitata replica borsette come sosia di chanel può inoltre è troppo costoso, solo modo meno costoso come autentico.Per il caso in questione, il costo di una replica borsetta chanel può variare da $200, ma probabilmente $300.Che è la borsetta.dimensione, tipo e colore della borsa a mano.Un assetto giù lady portando un grande e malato a causa del sacchetto di obesità per trasportare solo soldi dovrebbe apparire strano.Ora c'è che la lezione e tendenze andare e venire, aggrappati a quelle borse in pelle vecchi allenatore - sono tutti alla moda accanto i mesi caldi! Balenciaga grinfie era iniziata più di cinquant'anni in passato come impresa familiare.
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2014-03-01 Sat 21:47 | URL | louis vuitton neverfull #EBUSheBA[ 内容変更]
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Queste borse potrebbero essere ovunque, come documentato nella sua flessibilità complessiva.Contraffazioni ha dichiarato che sono opposti di case.Essi associati solo più importante fattore nella mente.I profitti di fino a che è la verità e importante.La mossa ideale abbigliamento dev'essere significativo gruppo mobilità abito di quest'anno.Se hai paura del tuo per sempre la salute o l'idoneità del tuo Perugia, è necessario soddisfare sempre con un medico o altro professionista sanitario.
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2014-02-28 Fri 00:00 | URL | Louis Vuitton Sito Ufficiale #EBUSheBA[ 内容変更]
Difficile essere a volte piuttosto maturati attività originale.Perché nulla viene neppure vicino ad una Chanel borsetta mentre colpo verso il basso in genere fornito con fino se sei intorno a un individuo conosce e possiede anche una chanel diversi pezzi perché contraffazioni sono materiali di qualità meno-che-perfetto che è inutile per te all'interno del tempo.
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2014-02-28 Fri 00:00 | URL | Louis Vuitton Borse 2013 #EBUSheBA[ 内容変更]
i è stata simile fan Chanel supplementari per essere sicuri che anche indagare più vantaggioso terzo, Chanel high street Jumbo Chanel borsa Flap.Come tutti noi discernere perché dovresti borse chanel sono aggeggi e progettazione grafica di rango che non tutti noi hanno approccio all'acquisto del sito web di merci che chanel borse lesioni Avvocati los angeles trasformato la base regolare in uno unico.Sarà che il tuoi attuale chanel borse sono troppo di lusso può possibilmente drenare i soldi impiegati affinché si può semplicemente può possedere la maggior parte di questi coraggiosi attività.
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2014-02-27 Thu 23:59 | URL | louis vuitton occhiali #EBUSheBA[ 内容変更]
Che cosa è seriale varietà supremo? e ha carte di autenticità?, la maggior parte dei designer borse vengono base, numeri seriali potrebbe essere impresso anche se borsa vicino al manico, ma ciarlatani ottenere buoni come può riprodurre questi casi protettivo di polvere di bit.Usano altre pelli così come tessuti troppo ma la Cambon linea è interamente composto di vitello.Carta di autenticità all'interno di questo rivenditore per esempio Chanel borse in un autentico rivenditore di Chanel, è possibile dato estremamente pagamento di autenticità.
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2014-02-27 Thu 23:59 | URL | louis vuitton negozi #EBUSheBA[ 内容変更]
Sappiamo che attualmente esiste molte borse per le signore di aggiungere, come chiari uomini in esso rimane meno, così una grande quantità di uomini in discussione perché non hanno così migliaia di scelte per raccogliere.È un fenomeno che tutta la società ignora i requisiti utilizzando gli uomini.Diverse apparecchiature donne ottenere vista là fuori, comunque, anche durante molto poco per i maschi.Gli uomini sono stati anche nessuna differenza e un sacco di uomini che occupano più sviluppate posizioni consumano un sacco di cosmetici su base casuale di patio esterno.
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2014-02-27 Thu 23:59 | URL | sconto borse louis vuitton #EBUSheBA[ 内容変更]
Perdite di liquido refrigerante dritto in vetro mosaico ed e inoltre in legno può portare a danni che dovrebbero diventare sofferenza info alla fine permettendo così di ridurre la necessità di vostra proprietà tagliente di acqua.Un paio di.Quando payday avanza avendo una robusta speranza luckin'alcuni di borsetta brio alta, tra la cosa più vitale è sicuramente critico il posizionamento dell'autorevole negozi e negozi.L'unicità è effettivamente grande attesa hanno in tutto i punteggi da falsi beni una volta la vita di moda.
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2014-02-27 Thu 23:58 | URL | louis vuitton portafogli #EBUSheBA[ 内容変更]
Noi nave una porzione del più grande rende alla moda come Chanel, Aaron Vuitton, Hermes, Prada, Prepare, Fendi, chloe, Bottega Veneta, Jimmy Choo, Christian Louboutin e meglio.In vivificati, Consign con i tempi è realizzato un tale negozio che può rendere i vostri sogni di apparenza.Area l'aspetto di carta di autenticità può essere reale.Passare per le circostanze verranno permetterà di conoscere la volontà l'acquisto di un collegio di Chanel molto evidente o università è di raccoglierle da Chanel Boutique insieme a selezionare rimangono fedeli ai dettaglianti.Chanel non vendere i loro oggetti online su un sito Web, sconto negozi e negozi e fornitori.Il vuoto può essere un'utilità di irrigazione molto importante, impiegata per numerose faccende di pulizie.
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2014-02-27 Thu 18:24 | URL | chanel smalti #EBUSheBA[ 内容変更]
Tuttavia, una persona non può regalo tutti loro, si meritano di fare iniziare con una varietà di poter scegliere quella borsa del lotto vari.Con il, è necessario prendere in conto la personalità della donna reale a cui è necessario acquistare una borsa replica.t.A.è l'azienda effettivamente privatamente memorizzato all'interno di Firenze, che è fondata utilizzato nel 1928 da Salvatore Ferragamo.Nell'arena, carica così ciò che è parte importante per un sacco di per fare un acquisto, anche mentre veramente appassionato a questo proposito, essi possono non bilancio per esso grazie ad alta frequenza.
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2014-02-27 Thu 18:24 | URL | borsa chanel #EBUSheBA[ 内容変更]
L'ammirazione all'ingrosso il fatto che squisito design e stile e le borse Chanel su internet è quello che ha innescato l'obbligo di produrre davvero segnatempo il look a prezzi accessibili.Con esso è eccezionale calibro alto, eccezionale splendore e la migliore artigianalità.Essi complimentarmi con le esigenze di tutte le varietà di clienti fornendo prodotti perché necessita di tutti.Questa è la ragione principale perché è davvero così popolare è considerato come le masse.Se ti senti come una donna moderna voga, allora potrebbe sicuramente vogliono essere sicuri della loro associazione Alyce ottenere righe di borsa.La maggior parte delle aziende replica utilizzare materiale tipico che comprende anche ottone e tela orologio che danneggiare lo standard di e la robustezza delle borse a mano.
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2014-02-27 Thu 18:20 | URL | chanel shop online #EBUSheBA[ 内容変更]
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Questo marchio sarà segno lungo la moda.Utilizzare estesamente Chanel, estesamente usare da soli, poiché accanto al soggiorno informato su vogue in una gamma delle stagioni.Crediamo tutti che l'intero gruppo normale ognuno è affezionato della tendenza concetto.Esso non solo entrare in possesso delle cose che contengono più funzione, congiuntamente a quelli e capacità di moda spettacolo e opzione.Quando sta per vestiti, così come altri ornamenti, essi si rivelerà per essere cauto.E un po' di necessaria enorme borsetta a loro.In realtà, può essere semplicemente riconosciuto che una signora esattamente cosa abbastanza nevrotico dovrebbe essere facendo avere una borsa per il proprio fine, la ragione è ciò che desiderano avere possesso circa la borsa più Onnipotente.
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2014-02-26 Wed 03:30 | URL | occhiali chanel #EBUSheBA[ 内容変更]
Mentre è inoltre bag ha la propria firma all'età di hardware in ottone anticato e finiture di vitello in similpelle, il corpo è perfettamente lavabile per tutti i tipi di formula sversamenti?.All'interno di Mini "popolare verso la Chanel ha insistito il suo proprio stile, maggiore di un età più essi codardia, in un 21-year-old ha iniziato proprio nella sua ricerca di novità che non sarà per 50 anni, chanel borse sta lanciando una grande immagine femminile.l'essenza del regionale matura di 30 anni lei non vorrà più controlli, solo tessuto, lato decorativo, di dare e anche di età.
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2014-02-26 Wed 03:30 | URL | chanel make up #EBUSheBA[ 内容変更]
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Di loro tutorial, diamo uno sguardo a Chanel qui, cos矛 alla fine visita paghi un credito sano, ma l'acquisto di un 1 borsa del progettista, si ottiene la possibilit脿 di acquistare ricco.Signore, capisci ci che niente batte l'interior design, qualit脿 e semplicit脿 di prestatore di servizi di Chanel autentica.A prescindere sul proprio tua ombra, ci intera borsa Chanel che incontra.Come pure che Chanel porta con s茅 un'acuta osservazione di moda lo sviluppo.Come a causa di chanel rivendere, per perch茅 il capo verso lo sviluppo di moda, Chanel evidenzia il metallo texture quando si considera la progettazione sett, che pu貌 essere dimostrata e attraverso baseball Chanel vendita accattivante.Superiore a un disegno antico, impiegano Chanel bianco e l'unica cosa d'oro per la trama d'oro.Riservate scrive: "猫 un enorme moda per aiutare a scegliere tiffany falso attualmente.
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2014-02-22 Sat 09:01 | URL | louis vuitton borsa #EBUSheBA[ 内容変更]
L'esegue guadagni quando Chanle non trovano solo da borse include anche altro prodotto o servizio.Essi sono guadagno beneficio dalla gestione straordinaria a tutti i vostri Estendi.Associato Chanel 猫 in grado di visualizzare un sacco di moda anche se caldo borse pubblicati solo per i patroni al fine di raggiungere tutti gli altri bisogni oltre pubblico.Incredibilmente hanno parlato di uomini e donne e cumuli di loro particolare Chanel come rappresentante della reputazione del rapporto.Costo del brillante colpisce e che la qualit脿 猫 piuttosto eccellente, che 猫 rimasta in esso 猫 in realt脿 suprema livello ogni lady si sforzano di essere legati insieme con le risorse di Chanel.
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2014-02-22 Sat 09:00 | URL | outlet louis vuitton italia #EBUSheBA[ 内容変更]
Indesiderati scrive: "猫 diventato una moda per selezionare da tiffany falso presente.Le imitazioni con eccellente design e alta qualit脿 lavorano pi霉 efficacemente le scelte, vuoi per gioielli per accumularlo tuo persaude e abbinare il vostro abito.Le repliche si sovrappongono con esempi originali, ma sono pi霉 redditizi.Sulla zona plus, il mondo online offre una grande quantit脿 opportunit脿 utilizzando la donna esperto moda netto di acquisire designer borse top-of-the-line di basso costi prezzi.
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2014-02-22 Sat 09:00 | URL | louis vuitton occhiali #EBUSheBA[ 内容変更]
Anche se, in un sacchetto di gelso che non la realt脿 猫 venuto verso l'autenticazione della scheda un segno favoloso.Ci貌 猫 perch茅 un violento autenticazione telefono annunci di carta un altro fattore 猫 ispezionato.Generalmente, la persona reale gelso auth tasche sono brunastra, o medicina e maggio appartenendo alla migliore qualit脿.Borse Mulberry sono casi progettista di alta qualit脿 che, a causa della popolarit脿, sarebbe un grande fossato.Avendo dichiarato, ora quasi tutti borse sono generalmente esternalizzati alla Cina limitata alla produzione, sotto il lavello di pollo.All'interno normalmente il tuo nero colorato tag che si spera sar脿 stato qualsiasi tipo di quei tre varianti: fatto proviene dall'Inghilterra, ha dichiarato in Turchia o dichiarato in Tiongkok.Prossimi tempi pi霉 elencati in alto e guardare ancora una volta particolare.Sopra la parte posteriore dell'etichetta che 猫 necessario avere una lettera/numero di serie/modello dettaglia la stagione di crescita e la marca/modello comune tutto intorno la borsetta.
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2014-02-22 Sat 09:00 | URL | louis vuitton negozi #EBUSheBA[ 内容変更]
Inoltre, ci sono borse moda oggi che succede ad essere fatta modificare.Questi enable sacchetti per mettere i tocchi del punteggio di credito sei variet脿 di stile, disegni, forme e marche come Chanel aftermarket frizioni, borsetta di Gucci, Prada baseball ecc.Marchio 猫 il fattore principale quando si tratta di borse.Ogni uomo vuole borse brio da un marchio, un messaggio o logo su di esso, ma per tutti inascoltato di possibile.Alcuni questo particolare permettersi queste borse, ma pu貌 essere un, non vi sar脿 fatto il dubbio del prezzo.Molti per un produttori visto questa necessit脿 e ha creato la replica borse sono usati per aiutare fatto qualunque donna voglia.
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2014-02-22 Sat 08:59 | URL | sito louis vuitton #EBUSheBA[ 内容変更]
Chanel, il modello base di lusso soprattutto ha arredato situazioni difficili viaggi per pi霉 alta nobilt脿 centocinquanta a nostre generazioni, ha ora 猫 tra i leader di moda effettivo nel caso settore.Sopra causa ultime un tempo molto lungo, le borse Chanel copia stanno diventando molto pi霉 prevalente in vendita.Chanel borsetta 猫 un corso molto classico.Alcuni artisti di musica e gli attori che possono abbinare.SD Marvel 猫 collocato a elite sua ' dal suono dell'alta, moda vettori avanti al ragionevole.Ogni sacchetto di plastica design sar脿 tempestiva contrariamente all'interno di squisito punti, molti in cui mano stiched classico.L'artigianalit脿 del popolo linee SD Marvel sono eccezionali e ogni borsetta tessuto comprendono interamente personalmente, garantendo la migliore.Ci sono molti tipi di borse Chanel che possono essere trovati.Per rappresentazione, le borse sono realizzati in pelle di agnello, utilizzando superfici sono traboccante di pigmenti scuri.
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2014-02-22 Sat 08:59 | URL | louis vuitton borse #EBUSheBA[ 内容変更]
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接続されています。私のパートナーと私は多くの女性が現在提供しているされて私たちと同一の打撃は地面の賭けも。これだけ立派な味のための夢の皮膚カラーの女性になります。正確ではありませんがない適切なランジェリーを飾るために単に提案します。
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2014-02-21 Fri 22:10 | URL | hermes バッグ #EBUSheBA[ 内容変更]
問題のあるスイートでは、あなたの靭性が特徴的な、エルメス品揃え豊富な家の装飾だけでなく、専用のコンピューティング·バトラーが重要なドバイの海岸線をフレーミング床から天井までのフロントガラスで雨の誕生日のお祝い、ジ​​ャグジー、抜本的な階段がたくさんあるでしょう。
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2014-02-21 Fri 22:10 | URL | hermes 時計 #EBUSheBA[ 内容変更]
作成の旅行者にポセイドン、賛成の犠牲、神を喜ばせるし、それらの航海の安全を提供する彼を弁護するために、彼らの冬の始まり。ポセイドンは漁師のための素晴らしいプロテクター インストールには同じですが、考慮されました。人々 の人またはあなたの神を恐れていたが内陸の住民についてポセイドンをあがめるために意味される海に向かって住んでいた女性彼ら彼へ、豪雨により誘起されると考え始めます。過剰のトライデントは途方もないポセイドン枯れファクトシンボル印象的な武器です。主は海のすべてを考慮しているので、彼はときに残酷である短気であることのためだった。巨大な波は、すべての海の電話狂気の外に現れたときは、その後、ポセイドンは怒ってしまった人いる。
エルメス バッグ http://www.limfjordsbogen.dk/slides/hermes-bags-c-5109.html
2014-02-21 Fri 22:10 | URL | エルメス バッグ #EBUSheBA[ 内容変更]
しかし、人はそれにもかかわらずそれによって単に待機チェックリストを削除するのには個人の袋の彼らの特定の財布を開きます。個人的に確立するか、小売業者が偽エルメスもの進化し続けていますおそらくをサポートするためにこのレポートをことができます。たくさんのエルメス バッグ広く利用可能のために明確に減らされた意志をバックに設定。フリップ側では、典型的な偽物が、これらすべてのことを推奨しません。使用可能な大幅に少ないため単にいくつかは頻繁に彼らは時代遅れに苦しむので。どのエルメスの実際の機体マーキングをエンボス最も確かと所有者は、金属板以降にそのプロジェクトを配置ことを意味しています。
HERMES スカーフ http://www.linnemann.it/Kunstarkiv/large/hermes-accessories-c-5106.html
2014-02-21 Fri 22:09 | URL | HERMES スカーフ #EBUSheBA[ 内容変更]
誰もすべての許可する見栄えの財布を必要とする個人がそれらを食べているときかなりときルイ ・ ヴィトン トートので外側の表面ではいくら周り、店員がそれを購入の話は停止しません。タブレットで単に単に従って内部的に重要なノートに食料調達したいに役立つ、いくつかとしては追加されませんほとんどのコンテナーを表示できる他の人に家族の好みのため。右1セットの後に格安ルイヴィトンイニシャルこれらのタイプまたはジッピーコンテナ、ブーツに関連した動き、さらにハイヒールの靴をモノグラムや遅延を楽しんですることなく、アパート、にできることです。誰もがすべてどれだけ個人がそれらに外表面を食べる必要がある場合に可能にするために見栄えの良い財布を必要とするので、かなりのルイ·ヴィトンのトートバッグは、それを購入する話を停止しない売上、人物の周りのとき。
hermes 財布 http://www.dcck.dk/index-filer/hermes-accessories-c-5106.html
2014-02-21 Fri 22:09 | URL | hermes 財布 #EBUSheBA[ 内容変更]
コア値システムを勉強するために、最優先のカバー、未成年者、成長と多くの成功の多数の段階を考慮した提供教育反映されるイデオロギー、道徳的なホーム側面することができますので。トノーのリーダーシップの下、サムソナイト他業界で回すように思えた。ルイ ・ ヴィトン使用して観察すると彼は建設的なディレクターとして高級プレミアム デザイナーをもたらした。パネルひどいの $1 億 7500 万現金 e 本を承認した 12 月に財政の悩み子育てのための報酬の愛好家になるためにより多くの信用の雇用によって主に支払った。
hermes 時計 http://www.mousefighter.dk/test/hermes-wallet-c-5112.html
2014-02-21 Fri 22:09 | URL | hermes 時計 #EBUSheBA[ 内容変更]
彼らは、女性との関係で数え切れないほどのファッションの実際の想像力を獲得つかむと、あなたのスタイルでわかりやすいユーザビリティは1世代から高いまで別々受け継がれてきた。本当に収容キッドスキンセットで作られた、彼らはカビやカビは寛大にそれらをハングアップあなたのつま先の形状に製造しています。Oneは、いくつかの色、色の組み合わせで行われる。グッズブラック/タン色のオリジナルのシャネルのハイヒールのサンダルは、仕分けこのバレエを通しても同様である。
HERMES スカーフ http://www.creatingcatering.nl/images/hermes-key-case-accessory-c-5108.html
2014-02-21 Fri 22:08 | URL | HERMES スカーフ #EBUSheBA[ 内容変更]
このアップグレードは新鮮なライフ スタイル boudreau で取る避けるそれ以外の場合、アルマを含む伝統的なハンドバッグ急速な 30。ハリー ・ ヴィトン イニシャルやモノグラム キャンバスぷちに適したコンテナー バッグ モノグラム ミロワール製品のほとんどを含む共有楽しい人目を引く反射金または多分ゴールド塗りつけ。ファッショナブルな傾向に向かってこれらの目的を使ってそれおそらくパフォーマンスにあります、彼ら単純に近い aren。
エアジョーダン11 http://www.mmc-ins.com/images/Nike-Air-Max-c-11011.html
2014-02-21 Fri 21:28 | URL | エアジョーダン11 #EBUSheBA[ 内容変更]
これを考えると、通常スケールの選択プロセスを維持する包括的な位置;特定のコントロール コイル nailers 現在効力変化は、同じです覆われてサンプル重量または重量を失うの損失によって。また作成した熱電対温度 gps ナビゲーション サンプルの連続測定を感じてあなたサンプル プール オフを接続し、他の部門についての記録を発見しました。首都はショーの準備に関連付けられているこれらのピカソのほぼすべての年の博物館に捧げ彼蓄積彼初期があるのであなたの個人的な居住地だった。ガウディの経験豊富な建築作品は、目に見えるすべて同じ都市についてあり、モザイク ・ タイル、ツイスト彫刻、球形の石に関連付けられている使用に関してあご。熱重量分析調査サンプル フライ釣りラインと平均台 1 水曜日発砲、不要な重量と TG 制御回路を使用する前に、添付サンプル サイバー スペースのサンプルのスイミング プールの温度の質、温度、そのサンプルで品質を確認するは非常に高い速度でチェック、温かくし - のバランスを制御します。
エアジョーダン 通販 http://www.dogpro.se/att/Nike-Air-Force-c-11034.html
2014-02-21 Fri 21:27 | URL | エアジョーダン 通販 #EBUSheBA[ 内容変更]
ハリウッド夜空や有名人のクローゼットの付属品にやむを得ないことがあります。ジュール ・ ド ・ リブランが大いにより多くの経験蓄積いくつかの有名な労働者を利用しました。ヴェルサーチ前に、の訴訟のため、逮捕、助手はディオールのジャンフランコ フェレの受け入れの前に。
ジョーダン スニーカー http://www.samran.com/menu/Nike-Air-Max-c-11011.html
2014-02-21 Fri 21:27 | URL | ジョーダン スニーカー #EBUSheBA[ 内容変更]
しばらくしたら、行の多くの都市に拡大し、開始生産バッグ、ファッションの保険会社、デザイナー クラッチと革新的なバッグを防ぐため。今確立 wel の 1 つはヴィトンの命名は本当のバッグ メーカー国際的に。ルイ袋にスタイルとシンプルなデザインのため知られている彼らの究極の目標は本当にアウトソーシングの空想を使用すると、現在の傾向を使用して維持、お客様の時計デザイナーの製品を検索します。それ変化し続けてそのデザインとスタイルを機会に季節ごとにそれらの各 1 つで非常に創造的なアイデアを使用します。
ズームコービー8 http://www.admindev.com/myadmin/Nike-Air-Jordan-c-11035.html
2014-02-21 Fri 21:27 | URL | ズームコービー8 #EBUSheBA[ 内容変更]
この絹は熱帯、黒檀明白なレザー ベースの葉を LV 埋めレース フラウンスが組み込まれています。タグ: ジャージー スイート スポット Ori、Kaos Bola 公式 Jual カオス BolaTips を見つけるペアのブーツによって:、ブーツメイカー |2013 年 3 月 3 日、ブーツを回す女性の間で非常に一般的に使用されます。
エアジョーダン1通販 http://www.pandarider.com/gif/Nike-Mercurial-c-11020.html
2014-02-21 Fri 21:27 | URL | エアジョーダン1通販 #EBUSheBA[ 内容変更]
</span>。同時ショーメ調和幾何学的なモデリングでそのスタイルに反転ユーザー作品は中立的な味のデザイン ギャルソン グループを行う必要があるし、どのような方法で 30 の引き起こされた女性的な虚栄心を再接続します。
エアジョーダン2013 http://www.odderrue.se/hanar-filer/Nike-Free-c-11001.html
2014-02-21 Fri 21:26 | URL | エアジョーダン2013 #EBUSheBA[ 内容変更]
材料は、井戸に触れる私たち don't 平均厳しいです。側面のブーツにとても失望しています。すぐにその後販売に連絡クライアント サービス。女の子を返すブーツは基本的に強化され、いくつかが新しい二重製品料を買う余裕がしたいことができることを主張しました。すべての権利を表示した後私が見つかりました、ブーツに戻って、非常に半分の価格の支払いを望んでいたに返す必要がありますその場合、ブーツ。彼はベル アイルの挿入し、頻繁にスタダコナの中に彼は彼の提供の例を左に到達するまで海岸西周りのすべてセント ・ ローレンスに行きました。彼は正規の移動ともアメリカ ホチェラガ (今モントリオール、カナダ) に、独自の 10 月のペアを持って、1535年。チャールズ ・ レイク、彼ら彼はケベックのような何かの小さな町に保つだろうと思った。物語は、本当に理由はされてスムーズに私が予想される場合つもりはありません。今朝、私はすべての最後になったハンター長靴を待っていた。私はちょうど開いたとき、パッケージに、ショックを受けてもらったWeb 上のブーツの内側足キャップのつま先鋭い少しが与えられたブーツはマンモスのラウンド。
エアジョーダン http://www.griffinreports.com/images/Nike-Air-Force-c-11034.html
2014-02-21 Fri 21:21 | URL | エアジョーダン #EBUSheBA[ 内容変更]
南スペイン、マラガの豊かさの町はその訪問者に提供するたくさんあるようです、我々 は豊かと大きな楽しみを楽しみに見えることができます特定の場所に起こるが、先に休日の経験は遺産と歴史の豊かな雰囲気と目を引く周囲を明るく、絶対に。多分ルイ ・ ヴィトン 2012 スコットランド マラガのあなたのすばらしいスペインの首都からの彼らの計画休暇の精製と思う場合は、すべてのこの分野であなたのエネルギーを通してあなたを楽しませるために多くを検索できます。このマラガのコミュニティ概要量当社歴史、日常的な活動、観光スポットのための特定の情報を持っていることによって、関心のある場所し、の差異場所、おそらくもいくつかはるか全般について詳しくマラガ。
エアジョーダン11 http://www.hawkinsfalconry.co.uk/images/Nike-Free-c-11001.html
2014-02-21 Fri 21:21 | URL | エアジョーダン11 #EBUSheBA[ 内容変更]
時計はそれらによって使用される最も一般的なガジェットの中で実際の問題から無料の実際の正確な時間のための非常に広汎な期間以来人。時間は、生活の中で特に貴重です。そうでなかったら効果的にこれは良い方法の問題の完全に無料で時間の後ろに転送することはありませんので、生活から渡すしようしばしば覆われて使用時間。
ジョーダン スニーカー http://www.nesw.com/log/Nike-Air-Force-c-11034.html
2014-02-21 Fri 21:20 | URL | ジョーダン スニーカー #EBUSheBA[ 内容変更]
このように、いくつかの複製を超えて手頃な価格の品質の模造の財布を取得すると言うの真理な方法を知ることになります。利点は、このシステムには、通常、使用している今後の給料のために再生コーチトートバッグを利用する際の戦略は上と思われるかもしれません。</span>。サングラス腕時計を宣言する他のものを助けるようにちょうど私たちのビルド スタイルになります。E-コマースの内で必要不可欠です。現在利用可能なメガネに係る素敵なピックを見つけるでしょう。デザイナー後、あなたができる実際に見えると同じここで、安価な dupery を完全によく知られている製造業、特に自身を垣間見ることを学ぶ。
エアジョーダン1 http://www.virtuosomariachi.com/log/Nike-Air-Force-c-11034.html
2014-02-21 Fri 21:20 | URL | エアジョーダン1 #EBUSheBA[ 内容変更]
これは実際に企業センターと展望に係る生成されます。トリー ・ バーチ積層ロゴ Zip を閲覧することができます「トーリー党トリーバーチ パイルド ロゴ ゼロ文化」の発展と完全な良い取引より容易にいた。ナイキは直接これらの芽を得ることはありません、むしろ、彼らは材料や設計にqualifing靴はナイキするだけで提供するので生産する工場の所有者を取得します。日常のナイキは、ほぼばかりブーティ作り上げると、彼らは、その工場に生産された後、広告、可能な方法をアピール使用してそれらをマーケティングに厳密に集中し、それ自体を基調に。
ナイキ エアジョーダン http://www.pjwichita.com/images/Nike-Air-Force-c-11034.html
2014-02-21 Fri 21:20 | URL | ナイキ エアジョーダン #EBUSheBA[ 内容変更]
</span>。需要の湿気のある亜熱帯生態系、ミラノはカフェイン入りの飲み物やコーヒーまたは紅茶とローミングを愛する多くの素晴らしい場所です。後彼らの構造の内部設計を見て必要があります視線とファッションの街のあこがれ。年代を通してとミラノは異なる年齢層と同様に、それらの容姿の美しさの感覚を維持しました。
エアジョーダン2013 http://www.dznpartners.com/images/Nike-Air-Force-c-11034.html
2014-02-21 Fri 21:20 | URL | エアジョーダン2013 #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-21 Fri 18:23 | URL | Oakley Holbrook Shaun White #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-21 Fri 05:46 | URL | Michael Kors Online Outlet #EBUSheBA[ 内容変更]
2014-02-21 Fri 02:13 | URL | オークリー #EBUSheBA[ 内容変更]
脠 la chiave per scoprire che, quando la borsa Chanel sono suscettibili di stipendio di mille tipi diversi di prezzo, uno sconto eventualmente pu貌 ancora essere anche davvero un costo elevato.Borse Chanel sono una delle linee pi霉 amate borse personalizzate all'interno del globo, alla ricerca di una tradizione notevole prolungata e luogo di buona qualit脿.Per che motivo troppo, 猫 menzionata un'acquisto replica che Chanel borse pu貌 venire ad essere molto venditore di borse superiore.Ultime frizioni di Chanel a partire lungo il sistema di quest'ultimo del 1990 possono directory seriale stampato all'interno di una decalcomania bianca, che questo 猫 sicuramente sotto un set loghi di Chanel che sono nel colore dorato.La decalcomania deve essere coperto e possibilmente un rettangolo grande abbastanza da coprire le decal totale sui propri di carte di credito.Accettabile raffinatezza e qualit脿 valore chanel frizioni sono sviluppati all'interno di una nascita del marchio e il modo straordinario in cui pu貌 soddisfare sempre il globo marktet come esempio.
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2014-02-21 Fri 00:49 | URL | outlet louis vuitton italia #EBUSheBA[ 内容変更]
speedy Herms clienti conoscenza trattato fibbia pezzi unici grazie al costoso altri gioielli, infamously guadagnando ovviamente un altro coccodrillo nero corpo hermes birkin 猫 commercializzata in realt脿 infame quando chiuso come arredare un formidabile poich茅 questi $65, 000 che comprende anche viale grazie al 2005.Moda 猫 una sorta di attivit脿 rapida, cos矛 classico non solo 猫 prendere troppo lungo decenni a crescere.Certo, 2.bottiglia 55, Gucci borsa handle pi霉 compatta p.(1947), vettore di Birkin (1984) cos矛 come Kelly tazza di joe (1956) e Adam Vuitton cilindrico logo elevata improvvisa baseball (1930) di Monogram sono attraverso decenni di raccogliere il loro invio.Ma, Bottega Veneta e con il genere fiammeggiante tessitura napa Veneta occasione e lei 猫 Gonzalez borsetta di coccodrillo pelle organica cura rispettivamente foglia solo raccolti 9 molti 12 opportunit脿, il penso che d脿 una persona 猫 permanente.
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2014-02-21 Fri 00:49 | URL | louis vuitton borse #EBUSheBA[ 内容変更]
Alcune delle informazioni correlate pi霉 ambite di tutte le donne 猫 un designer borsetta, principalmente assegnato lo status di hottie appassionato di queste sostanze.Celebrit脿, reali, e all'interno di un super-ricchi sono i principali clienti per i prodotti.Contro questo clienti comuni, che desideri quell'azienda, ma non possono permetterseli, c'猫 una vasta gamma di borse copia che incorporano copiato per poter styling di maggiore texture originale.Queste repliche sono cos矛 via che distinguere relative al sacco insieme a contraffazione genuino 猫 sicuramente molto complesso.
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2014-02-21 Fri 00:49 | URL | louis vuitton borsa #EBUSheBA[ 内容変更]
Come un arredatore o uso il poeta si tratta di spazio per scrivere le che loro idee di composizione vengono dalle pi霉 semplici, pi霉 alcuni trasparenti in numerose comunit脿 moderna, questo avviene ora all'interno di Yves Gastou Art gallery.Classico Twill ruotare decorato con reticolo, toni semplici, kuanxing configurazione pratica trasformato.
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2014-02-21 Fri 00:48 | URL | louis vuitton negozi #EBUSheBA[ 内容変更]
Chanel borse sar脿 il marchio unico e questo pu貌 essere con diversi pellami classici che sta producendo componenti aggiuntivi e primo marchio destinato a borse alla moda e di alta qualit脿 di fabbricazione riconosciuto.S5620 猫 pi霉, guarda detiene l'offerta vai, tra cui costruire un pagamento cadere gi霉, transazione semestrale e una serie di questioni.In entrambe le azioni, gli acquirenti ottiene pi霉 in alto come in un 30%.
louis vuitton borse http://www.apias.it/css/louis-vuitton-borsa.html
2014-02-21 Fri 00:48 | URL | louis vuitton borse #EBUSheBA[ 内容変更]
Noi determiniamo insolito venire di borse non avete mai visto.Queste stampe iniziano negli animali, maschera viso, damasco, polka dot accessori.Non si pu貌 godere di pi霉 sono i modelli se non si ha uno sguardo.Andare in Borse conformit脿 del progettista ridotti e scoprire le borse che si desidera.</span>.Un'altra serie infine dietro Chanel prodotti sono belle in funzionalit脿 e alta qualit脿 nelle riprese.La maggior parte delle bozze sembrano essere piuttosto abbastanza che senza sforzo tenter脿 numerosi questi elementi.Chanel bagagli possono sopportare l'uso quotidiano della vita e possono essere estremamente pesanti.Ogni amante di Chanel dovrebbe avere finalmente un pezzo dietro l'elegante bottiglia in pugni.
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2014-02-21 Fri 00:48 | URL | louis vuitton borsa #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-20 Thu 21:02 | URL | Michael Kors Purses Outlet #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-20 Thu 20:24 | URL | Michael Kors East West Tote #EBUSheBA[ 内容変更]
<a href="http://www.ajdtuna.com/">ニクソン 腕時計</a>
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-20 Thu 18:14 | URL | Michael Kors Online #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-20 Thu 16:42 | URL | Tas Michael Kors #EBUSheBA[ 内容変更]
2014-02-20 Thu 07:37 | URL | ミネトンカ レディース #EBUSheBA[ 内容変更]
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completamente seguente 猫 diritta vincoli finanziari non contattare il resto delle famiglie associates creato dal brand accuratamente chiatta la zona notte durante i quali siete entrambi.Una borsa Chanel 猫 notata per che 猫 leale categoria di clienti.Il sistema ha personaggi famosi come Chanel borsa di fantasia.Un'affascinante classe sacco di clienti apprezzano le celebrit脿 e altre figure pubbliche sar脿 veramente venire attraverso un modo spendere una quantit脿 significativa nella loro vita l'acquisto Chanel borse di vari colori e stili.
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Molto probabilmente 猫 trapuntato Cambon Multipocket danza scarpe borsa.Dichiarato di Madeira, questa borsa Chanel batte qualsiasi chiusura tozza installato con tasche altrove e secreto e improbabili destinazioni decorativi.Quindi, aspetto pi霉 importante che si vorr脿 pu貌 potrebbe essere benissimo stabilire creare bit zona argomento film pi霉 della persona.Prendete nota, non possiedono un sacco di tempo, un sacco di video didattici sempre essere circa 3-5 anni maggio molto di tempo.Cos矛 accertarsi che la registrazione 猫 in realt脿 precisa.Mesi invernali collezioni di tutta la moda popolare strisce, tale permanenza Versace, treno, Burberry borse a prezzi accessibili ha fatti fare la pelle raro possono essere estremamente soddisfatto.
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E ci sono pi霉 e pi霉 e pi霉 borse di uomini della Comunit脿.La maggior parte sembrano essere funzionale borsa come la guarigione di paga ragazzi all'opzione di variet脿.Sono chiari esempi.borsa che potrebbe essere un buon accessorio che include un elemento cos矛 possono mettere loro necessit脿 tutta disponibile, compreso il portatile.L'Hermes Steve Messenger Bag trasformando in un sacchetto di utilitaristico per maschi per escort.In materia di, si siano trovate che niente come il senso, la qualit脿 o almeno comfort di un'autentica trasportino Chanel.Qualunque sia il vostro giorno, l脿 una borsa Chanel base migliorare.Un'idea incredibile che appaiono a farsi Chanel borse, poich茅 猫 essere disposti ad ottenere qualche fantastico buona compera.Don divertirsi ugualmente trasportato, per貌.Ma tuttavia, se questo 猫 davvero quasi tempo per un'ulteriore dose, saltare 猫 molto mancato servizio e continuare la loro normale dosaggio schedule.
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脠 importante che il fornitore critico che tu potrai osservare 猫 valida, tale metodo consente di garantire che essi sono in grado di offrire prodotti di qualit脿 a un conveniente cos矛 siete in grado di scoprire le entrate da loro quando la fotocamera rivendere le carte.Si dovrebbe decidere il vostro assortimento di borse estremamente grande di disegni e dimensioni.Ci sono un sacco di borse diverse volte a molti comportamenti, quali feste, lavoro d'ufficio e riunioni di lavoro formale.
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2002, Martini 猫 stato pianificato italiano per trovare lo spazio commissionato per creare l'organizzazione del getto di svago si stabilirono i piloti, le sue idee per una terra verso lo spazio.Supponiamo di che Coco Chanel 猫 morto per sempre.脠 sempre stato eterno e possibilmente pi霉 distinto marchio sulla terra.Il loro logo regolare attraverso la doppia C che non mantiene la moda ma sicuramente guider脿 la tendenza per sempre.Gabrielle Chanel venuto in questo mondo al 1883 similarmente questo morto per via del 1971.Coco io sono suo soprannome quando lei 猫 stato un bambino.
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Se qualsiasi descrizione afferma che la borsa 猫 una "replica" ' "progettista ispirato" quando la borsa rispetto non 猫 autentica.Considerare il costo della borsa.Se il valore sembra sufficientemente buono considerato come essere vero, allora siete molto probabilmente lo 猫.La prima cosa che si richiede 猫 quello di utilizzare come gestire i tuoi vestiti come un modo per voi di usarli.Perch茅 abiti creati da materiali tipicamente grinza, non stupisce che usando un giorno di metterli, essi continuano a mostrare rughe.Una ruga non soltanto il fumo di tabacco di sguardi, ma questo particolare infine acquisisce una piega concernenti la tuta.Quando si forma un brutto grinza sul loro vestito, esso sar脿 completamente annullare.Un it non sar脿 a vapore aiuta ad ottenere le rughe del tuo costume andato in una moda che 猫 torcia abbastanza per il marketing.
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Se il numero qualsiasi preoccuparsi vostro uno di un genere salute o la salubrit脿 della tua giovane, molto probabilmente incontrerete sempre con un medico e vari agenzia di servizio sanitario.Si prega di guardare il segnale di Privacy e Tos prima con quel sito.Tutte quelle cose che dovresti fare come una persona ha bisogno l'opzione migliore, pi霉 raffinato offrono che si desiderer脿 pi霉 il costo.Tuttavia, quando si acquistano Chanel sacchetti di plastica su altri siti Web, acquisto guarnizioni indicazioni o sintomi di autenticit脿 e tenta di realizzare comunque societ脿 che sar脿 dura chanel borse se suo affidabile o morti.Alcune famiglie molti amore scandaloso display mentre altri siti lo odio davvero.
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Ma don Chiedile di imbattersi in voi solo comunque.Potenzialmente pu貌 esso raggiungibile appena voi due ha ottenuto attualmente adottato comunicando il paio di mesi.Si attira il proprio pranzo e cena anche, solo finch茅 猫 essere consapevoli del fatto che lei aveva realisticamente 猫 protetto vedendo da quel punto.Come identificare una Chanel borsetta per meno indubbiamente, Chanel sono probabilmente i pi霉 grandi nomi del sito all'interno modulo industria.
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Ma costruire Chiedile di investire in te solo comunque.Potrebbe potenzialmente raggiungibile ogni volta che due contribuiscono attualmente parlata comunicando per voi due mesi.Puoi ottenere suo fare determinata correttamente cena pranzo, pu貌 solo fintanto che si avere familiarit脿 con che la donna 猫 realisticamente sicura di vedervi il periodo.Come per la Chanel borsa a buon mercato indubbiamente, Chanel ha diventare i pi霉 grandi gruppi di parola all'interno di industria di gusto.
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Ad oggi, la Chanel borse capita di sono stati sul mercato di borsa tempo guida esteso.Dal calcolo ben noto, problemi nella vita pi霉 tarda che s vendite quantit脿 di prodotto di Chanel borse per quanto riguarda che il vincitore aveva dieci demolire un numero enorme, che continua ad essere un numero cos矛 intenso che saranno altri marchi non pu貌 soddisfare.Stesso, queste borse per una buona robustezza e pure come classico stile sono di grande nome.
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Il sacchetto filtro scopo universale fornisce una poliolefina multistrato, che fornisce la purificazione affidabile a portate pi霉 desiderabili in saponi, sia a bassa viscosit脿 e pesanti.La borsa 猫 disponibile in quattro taglie molto meno micron a voi personalmente un bel sacco di richieste.Una plastica-tipo collare di materiale e maniglia per consentire facili e senza stress filtro outs invertito e sono progettati per adattarsi in pi霉 il sacchetto consumatore ottenimento.
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Personale fino a ragazzi per lo pi霉 fantastici associati a vite nere con - potrebbe in realt脿 scansione aspetti del tag da $2, 000 miscela con.Bene, allora possono utilizzare un monitor per dimostrare la casella sulla pista di motori di ricerca, bazar, una foto di vasta gamma e pi霉 motivi di inventore o l'esecuzione pi霉 completo informazioni circa composti da taglio, netto e materiali e contenuti, cos矛 che sar脿.Con effettivamente giovane facendo squadra, societ脿 di produzione cinematografica 猫 atteso a toccare le emozioni della generazione x che idealmente soddisfare puramente nip i frequentatori facolt脿.L'istruzione del metodo della pellicola 猫 molto simile al passo di Youngistan.Societ脿 di produzione cinematografica infatti cos矛 dimostrer脿 essere energico, divertente provare a divertente invece.La cospirazione 猫 associata con quelli commedia pura attraverso un ulteriore tocco di seducente.Rishi Kapoor pu貌 arriver脿 un gay in quel film.
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Questi prodotti produttore rientrano l'analisi del check infallibile, il che significa che si sono premiati per lo scopo che si Cowl.</span>.Sulla mano mi aiuto avete vissuto nel vostro istante molto organizzato dallo stile di vita di loro amici, 猫 la realt脿, pals purtroppo non possiamo trattamento riguardante il periodo di voi sono un periodo di tempo SA, come molto lungo come dopo praticamente allo stesso tempo centro che sar脿 considerato un amicizia durata.Da voi ho realizzato un'ampia variet脿, che il mio stile di vita rispetto agli scambi verbali principali sar脿 probabilmente il pi霉 importante, ringrazio sinceramente, il tempo parola creando un gruppo permanente di felicit脿 tutta la vita, hanno anche un'adeguata vita significativa.
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Esso 猫 stato scelto come indossabili simile a persone che vorrebbero apparire fragili ed eccezionale come.Il down - side, si adatta a qualsiasi occasione gran desideri partecipare accanto a.Ci貌 nonostante 猫 pratico.C'era la relativa esposizione della ragazza, situato tra il 4 e anche 5.Gli importi vengono creati in lingua araba, quindi sono pi霉 semplici da vedere e studiare.Inoltre, questo 猫 durevole.Questi orologi non sarebbe sicuramente persistono inferiore a $3, mille quando sono nuovo di zecca come originale.
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Tutti questi tatuaggio disegni partita a causa di trib霉 Armband Tats in una certa misura.Pi霉 spesso oggi, i fedeli repliche.possibilmente piante, cuccioli, erbe e anche sani parassiti sono solitamente raffigurati durante questi tipi di tatuaggi.Borse di moda Sosia Chanel in grado di fornire una buona esperienza.Dal momento che sono interamente copiando borse iniziatore, queste repliche sono fatti dei materiali pi霉 importanti, quindi 猫 possibile competere con gli originali.Disegni o anche stili sicuramente non sar脿 nemmeno una sorta di discussione in questi giorni." onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.
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Non comprare prodotti di imitazione Chanel che normalmente comprendono rifiuti presentazione di: borse Chanel genuino non 猫 sostituito; bellissime creazioni Chanel presentano un modesto meraviglie che pu貌 eseguire la Chanel davvero finto.Repliche venire presso le capsule di Chanel genuine incluse solo nell'aspetto.Mentre indossano qualcosa, e sono catturati che circonda i paparazzi, che cosa sar脿 molto popolare a in realt脿 diversi per diverse ore.Le donne adorano moda costume di halloween e borse e c'猫 un normale e forte speranza di vestire hanno un debole per le celebrit脿.
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Anche le cuciture riconosciuto borsa viene effettivamente eseguita meglio.Probabilmente c'猫 una cucitura malandato.Chanel presenta un artigianato di alta qualit脿 che non troverete declassato aggeggio allineato o punti di sutura superficiale in a chanel al dettaglio presa uk borse della spesa.Sono solitamente con repliche questa coppia, comunque? Se non avete visto un duplicato di Chanel, sono ancora a completamente simile in originali.Essi hanno l'identici loghi, colori, disegni e variet脿 rispetto a un adulto Chanel borsa sinonimo fuori che 猫 possibile acquistare.E non non c'猫 nessuna realizzazione dove la borsa se tuo voler 猫 solo un copione.I loro prezzi utilizzano l'un piccolo meno di 300 a sopra 2000 greenbacks.
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Le frizioni che coinvolgono Chanel sono in realt脿 contribuendo a uno, sofisticato stile cos矛 come sopra allure dentro l'esistenza delle donne, poich茅 molti molti o addirittura marca sembra hanno acquisito valore tuoi baci delle ragazze, perch茅 sanno che le borse Chanel possano facilmente sono considerate tendenza sta cercando.La base di Chanel Cavier borsa 猫 probabilmente la Chanel frizioni nella fascia di prezzo bassa, comunque trasporta oltre alla qualit脿 e magnificenza ourite particolare mercato.
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</span>。あなたのペットと一緒にまたは個人的にそれらを検索できます。特定の機能では、靴袋を包含、スペンサー、車輪、コンフォート ポケットと困難な調節可能なスライド ハンドルにいくつかに触れるのジッパー式レベル中分離内側ボート濡れています。
クロエ バッグ ショルダー http://www.pagoaloradenda.com/img/chloe/
2014-02-14 Fri 15:34 | URL | クロエ バッグ ショルダー #EBUSheBA[ 内容変更]
最近のシャネルのモデルの販売では、レールはそのtwiggierのtwigletsの一部と全身タイツボディスーツは非常に彼らは、ネット変える町を運んでいた洋服から体重かけて撮って、30分以内に避難した。
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2014-02-14 Fri 15:34 | URL | ポールスミス 時計 #EBUSheBA[ 内容変更]
快適な「ルイ ・ ヴィトン パリ「手紙袋の代わりに、間すべての貴族の感覚が増加します。考慮する機会を購入する、正確なコーチ ハンドバッグ マイナーな欠陥の間におそらく安価な模造品、何を選ぶことができますか?応答は明らかです。やライフスタイルは多くの場合、要件のために物事内永久的であることを確認してください。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">ルイヴィトンダミエソーホー増加ペイントあなたに「フィッタ製品は多少のビジネスを解決低い本を運ぶ上で背の高い空洞を共有する強大活動です。
Paul Smith jeans http://www.themortercompany.com/js/paulsmith/
2014-02-14 Fri 15:34 | URL | Paul Smith jeans #EBUSheBA[ 内容変更]
または多分、熱狂的な最後がなく、少なくとも自発的ですか?あなたのキャラクターはあなただけを取得する必要があります会社バッグ ラウンド影響があります。バッグは本当をさらに確かにラップトップを緩衝レベルは十分なパディングを与えられるし、エッチングを取得しないかなりを持っている必要があります。グッチが付属として 1 つアジア版ダウン カット ピンクのハンドバッグを開始しました。コーチは控える、典型的なビジネス関連エグゼクティブ スタイルの外、参加者と共に航空会社から来る利益) LVMH とバーバリーから完全に前述の収益ヒントどのような恵み商品のグローバルな喉の渇きは生きていることを蹴り続けるけれどもと確信しています。
クロエ バッグ ショルダー http://www.ontejas.org/cgi-bin/chloe/
2014-02-14 Fri 15:33 | URL | クロエ バッグ ショルダー #EBUSheBA[ 内容変更]
Quando 猫 vestiti e altri ornamenti, essi saranno ha trasformato in un attento.Louis Vuitton HandbagsMadhu SharmaAre shopping in giro le borse pi霉 attendibile si pu貌 ottenere in materia? Queste sono ancora l'hockey di Louis Vuitton che vengono riconosciute nella lista delle borse pi霉 costosi e pi霉 belle che mai impostati.Lo stile di Chanel Portobello medio di borsa, vendita al dettaglio provenienti da un fresco $2, 295, 猫 considerato pi霉 loro disegni voluti.
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2014-02-14 Fri 13:02 | URL | louis vuitton occhiali #EBUSheBA[ 内容変更]
Commercio all'ingrosso di Chanel frizioni sono commercializzare in gamma diversificata in negozi online attendibile che fare la borsetta pi霉 costoso espressa da $3, 300.Yangutu 猫 anche una datazione per ottenere incontri nozioni cos矛 si possono incontrare ragazze pi霉 fresche ma altrettanto ragazzi vicino alla vostra comunit脿 regionale.In ordine essendo il proprietario di un foglio di borsetta di alta efficacia utilizzando alla moda elaborare, di come denaro 猫 di ottenere buone informazioni su dove imprenditori ufficiale della persona si trovano in varie parti per vostra personale globe.Connesso con pelle di tela in realt脿, alla moda, al solito, ci pu貌 essere una borsa Chanel un po ' pi霉 occasione e ogni stile.Non 猫 possibile individuarli nei negozi quindi non 猫 indispensabile preoccuparsi di attraversamento di un partito ma altrettanto vedendo tutte le altre alla gente armati tuttavia la stessa borsetta 5 distinti.Stanotte 猫 possibile anche esaminare variet脿 utilizzando la propria banda, avendo materiale particolare vari programmatori di vicinato bruciore.
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2014-02-14 Fri 13:01 | URL | Louis Vuitton Sito Ufficiale #EBUSheBA[ 内容変更]
In generale, sono solitamente venduti a causa di prezzi molto decenti e a buon mercato.Tag parole: radyo dinle, dinleGet radyo online informazioni su Online individuali di To Read: Noe Ellison | 1掳 Gennaio 2014 fino all'intrattenimento 猫 l'attivit脿 che dar脿 ricreative o godimento mentre la gestione mobilit脿 del tempo libero.Analogamente, stampa animalier conduce moda ripetutamente, ma 猫 meglio scegliere borsa del rivenditore metallo acciaio tutti con attenzione, o forse borsa immagini a buon mercato.Grande signora, che suggerimento, quali stile borsa mani li ultimate appaiono, a loro piace ottenere Chanel portafogli, come frizioni sono una delle specialit脿 sull'avvio di questa tendenza.Mentre capacit脿 davvero 猫 adattato all'interno degli anni, panno 猫 ancora un materiale pregiato cos矛 come utilizzati in entrambi i modi str.Una qualit脿 superiore impostata di clienti tale per esempio celebrit脿 figure troppo pubblico sar脿 ovviamente completa spendere una grande quantit脿 e, a volte l'acquisto Chanel borse di diversi colori e stili.
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2014-02-14 Fri 13:01 | URL | louis vuitton negozi #EBUSheBA[ 内容変更]
Questione di Lagerfeld, se e non completamente ignoranti, esperto finito semplice.Allora le probabilit脿 sono voi essere progettato preoccupato il motivo dietro l'ottenimento di persona a pagare met脿 come pagamenti.Non probabile, l'impronta 猫 finestra cieca o incolore, se la borsa spazio creato sacchetti della gamma di pelli di individui il luogo Hermes non pu貌 utilizzare un metallo stampaggio.Che essere costantemente color catrame, chiamato argento oro.
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2014-02-14 Fri 13:01 | URL | Louis Vuitton Borse 2013 #EBUSheBA[ 内容変更]
Esso marchi il baseball per una grande quantit脿 di tifosi 猫 irrilevante sono donne o uomini che rischiano di essere entusiasta nell'impressionante sembra e caratteristica grave.tutti al raduno di compleanno hanno media via extraordinare dj Richie LaDue e bevande calde come bene e inoltre nibbles.脠 necessario acquistare una borsa grande poco va bene con il vestito, si sar脿 probabilmente neanche tote intorno ad un cappotto in occasioni di consumatori e anche blocco spedito la borsa a tempo indeterminato.
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2014-02-14 Fri 13:01 | URL | louis vuitton negozi #EBUSheBA[ 内容変更]
2014-02-14 Fri 09:13 | URL | TADY&KING ペンダントトップ #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-14 Fri 03:38 | URL | Nike Free Run 3 UK #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-14 Fri 02:16 | URL | Cheap Air Max UK #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-14 Fri 01:58 | URL | Nike Free Run 3 #EBUSheBA[ 内容変更]
彼らはおそらく安価な離れての提供とビジネスを広告するように見える提供維持のための楽しみをします。情報は、ハードコアのロエベ今太陽ビニールを得ていない明確に建設し、まったく割引の多くを使用してタグを考え Calle バージョンをリリースしています。どのようにこの肩事項、着用単にので肩は通常大幅に。私は明らかに要する決して農地のこの種馬術東京海上パレード地面に関して実証すると仮定します。
ポールスミスレディース http://www.jgaia.com/Cox/Paul-Smith-Kike-c-3.html
2014-02-14 Fri 00:58 | URL | ポールスミスレディース #EBUSheBA[ 内容変更]
大流行を検出ように、すべてのアーロン·ヴィトンの行使は、あなたから考えているようにそれは遺産である、絶対にしないだけである。それぞれはさらに、「私はできない」あるいは長期的な古いリールの人に言ってあなたの考えに建設された自己不信と組み合わせてその声を見つけ、あなたの心でプレーすることは、プロジェクトを達成することになると、スタイルに気づく、次に作ると言うと提携であると考えられてと交換する意識し選択、「私は自分自身を信じている」または単に「私は信じている "依存"私はそれを行う必要があります信じて」。
ポールスミス 財布 http://www.thaicoconut.com/download/Paul-Smith-Kike-c-3.html
2014-02-14 Fri 00:58 | URL | ポールスミス 財布 #EBUSheBA[ 内容変更]
すべてのサイズ、スタイルや色は一部の人々 の要件としてことができます。6。消費者は、ルイ·ヴィトンの多くの人気の名前です。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">それは他の袋と一緒に最高品質のエルメスのバッグを入手しても安全であるものこれらの人々の場所がEurohandbagに動作します。オーバーフローの重要な特性の一つの最も豊富なあなたはそれが最高に終了しなければなりません見つけるのですか。
ポールスミス 財布 http://www.adapausa.com/new_adapa/Paul-Smith-watch-c-1.html
2014-02-14 Fri 00:58 | URL | ポールスミス 財布 #EBUSheBA[ 内容変更]
このこれらの今非常にコンセント電源から jaunts 側水証拠非常に理想的な面をサポートするものです。レビュー、エルメス ハンドバッグのこの外観は、この 1 週間のフェージングを方向を見つけるかもしれない。そのほとんどの写真はかなり機知に富んだこれらの理由から。21 ボタンをファッショナブルな市場に関連する 'で' サングラスを示すためにコテージ コレクションは、実際の期待に改修。
Paul Smith jeans http://www.dogpro.se/img/Paul-Smith-wallet-c-4.html
2014-02-14 Fri 00:51 | URL | Paul Smith jeans #EBUSheBA[ 内容変更]
発見する、発見は家に再生されました。アクセサリー送料有名人の 1 つのタイプがあると思われるポーズは、しばしばサングラス。に向かって、魔性の女。彼らは自己のプレゼンテーション全体で申し分ないです。女性にレース響き「賢い女」を取得がされるも 3 つの億兆ボーナスを発見しました。最大になるようである風刺棺保護ケースと組み合わせてこのペチコート内出荷数が素晴らしい。
paul smith バッグ http://www.dunlopillothai.com/flash/Paul-Smith-wallet-c-4.html
2014-02-14 Fri 00:51 | URL | paul smith バッグ #EBUSheBA[ 内容変更]
移動する完璧な責任のパートナーになることをあなたの脳を求めると同様。コリー ・ ハート彼の通常の (の) を所有するために使用するとき彼は歌った 1980 年代、サングラス、一夜に話す夜少しサングラスを着用、彼は絶対に必要カバーしてグッチ眼鏡。現代のモデル人間工学に基づいた簡単な変更点のための車輪を作成しているし、余分な歩道や階段に行きます。com 多くそれエド堅牢なギャル パーカー実際の偽の湿った布の詳細、3 インチ、離陸ジッパー羽目になるとを取るし、エッジ低オーバーヘッド機能スエード布ファブリックとラインス トーン情報。
Paul Smith 時計 http://www.hundkiosken.se/aspnet_client/system_web/Paul-Smith-Kike-c-3.html
2014-02-14 Fri 00:51 | URL | Paul Smith 時計 #EBUSheBA[ 内容変更]
神聖な GG ロゴ考慮したグローバル ピナクルでのブランドのスタイルと希望リストの中で。取得準備、条件、または LV の別の場所または多分互いを展開したい別の取得、オンライン購入と販売はフレンドリーです。それは非常に明確な視覚障害者のカップルについて役に立つ、ワイン、オレンジと白の火災します。このように、彼らは大きなビジネス チャンスの多くを失うことができます。
ポールスミス 財布 http://paulsmith.smallluxuryhotelsoftheworld.net
2014-02-14 Fri 00:23 | URL | ポールスミス 財布 #EBUSheBA[ 内容変更]
ビジネスの所有者。しかし、動機の人々 の y 推論を引き継いで、独裁者の決定は終焉する点でビジネスを配置可能性があります。実際には、すべてのサムスン フラット パネル種類もで歩いている間で多くの亜種、P7510 は最新の gps システムに以前とみなされる強力な通常の日常機能と機能人のタブレット システム、ある特定の稀な 10。1 インチのフロント ガラス、1280 X 800、はるかに高い解像度率, 一般的な 0。
ヴィトン タイガ http://www.bruggenslaan.com
2014-02-14 Fri 00:16 | URL | ヴィトン タイガ #EBUSheBA[ 内容変更]
彼らはランナーに適した透過性を示すことができる。あなたはラルフ·バッハ良い薬が言うと、彼の方法を欺くために何を含めて見て時間を持っている場合は、E·リースは文字通りあなた特異費毒素に変わります。
マリメッコ 傘 http://louisvuitton.srdjanerceg.com
2014-02-14 Fri 00:16 | URL | マリメッコ 傘 #EBUSheBA[ 内容変更]
誰かが軽率ジョン ・ ヴィトンの財布についてその後どのようなおそらく場合は考えを打つもののような優雅独自のバッグです。世界の品質のライバルより多くの住民が得ることを開発するので私たちのサービスの世界での評判を促進する同じ。チャンディーガルは、おそらく最も大きい市都市インドの亜大陸とはさらに厳しい vey 重要な商業パンジャブの中心。中に特定の機会に連続して多分存在するトレーディング パートナー動くことができるフロント アップ, しかし、厳しい経済状況に起因するし、1 つの部分のために複雑でもあります。
ボッテガヴェネタ 店舗 http://www.joepetroski.net
2014-02-14 Fri 00:16 | URL | ボッテガヴェネタ 店舗 #EBUSheBA[ 内容変更]
彼はおそらくアコーディオンを飛んで上下に Rio(1933) と呼ばれるオーディオ三角伝統の不可欠な部分を含んでいる投げられました。それらの多くいくつかの他の場所の間でウェイク フィールド、シプリー、ハロゲート、チェスター、パリ、フランス、バーミンガム、パリ、フランス、マンチェスターとビングリーすることができます。に沿って、ハンドバッグの究極の目標は実際にエルメスのバーキン、切望された、高度、引っ張りだこし、袋を得るために挑戦の間違い。睡眠中断プロセスは暗い racoon の読者のための別の再発理由を確認できます。すぐに利用できる貧乏人の間、棄権の習慣だけでなくそれら生命を高める素敵な医療の問題や感染症の確率を減らします。
chanel バッグ http://www.vo60.com
2014-02-14 Fri 00:14 | URL | chanel バッグ #EBUSheBA[ 内容変更]
あなたの無担保プラダ トート バッグの深刻な愛好家のアーティストを含むサルマ ・ ハエック、キャメロン ・ ディアス、クリスティンデイビス、ユマ ・ サーマン、歌手アヴリルラヴィーン、に加えてスカーレットヨハンソンけれども教皇ベネディクト 16 世。大型バス ・ フィッシャーまたはおそらくフロント ルーチン ラウンド バックのジャケットのポケットに農産物ピック別利点 2 を最初があります。造られた 1 つは、有名なロバート ・ グリフィン iii ニューヨーク レッドスキンズとビジネスを行うため。
フェラガモ 財布 http://www.vatternkyrkan.se/fckeditor/ferragamo-wallet-c-5108.html
2014-02-13 Thu 22:42 | URL | フェラガモ 財布 #t/wJ2rp2[ 内容変更]
ガラス切りだろうし、仕事を見る。4 つの自然な場所、海軍、黒砂がその結果ピンク黄色。私たちの生活は、ビーチを差し引くことによって話すピンク 1 黄色はあなたのお気に入りの選択肢夏の感じを明らかにします。バスティアは本当にこの特定の貧しい村を仮定まだ失業ガラス用があった。それらガラス用彼らを雇用を得る私最高の村のすべてのホーム ウィンドウにできるように近所の若者を採用する場合置くかもしれない。
Ferragamoバッグ http://www.saloncici.dk/upload/ferragamo-moberuto-c-5107.html
2014-02-13 Thu 22:41 | URL | Ferragamoバッグ #1gCQeyYw[ 内容変更]
</span>。それに分類に操業にで拡大されるが起こったので注文多くの別の小惑星の断片。元チームメイトにされデイヴィッド g. Tholen によって単に 1984 年に予見可能な将来が 1980 年代に含まれる 1 つの 8 色小惑星検索の実行で収集されたデータから生産します。
フェラガモ靴 http://www.basserne.kolner.dk/images/billeder/ferragamo-moberuto-c-5107.html
2014-02-13 Thu 22:40 | URL | フェラガモ靴 #TCPpsg9I[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-13 Thu 21:04 | URL | Michael Kors UK #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-13 Thu 20:46 | URL | Michael Kors Deneuve Handbag #EBUSheBA[ 内容変更]
グッチ最終的な削減 $89 低コストの靴し、ハンドバッグ単 120 ドルの原価計算を許可するがあります。大鬱病を購入するプラダの靴は、大規模な強要されます所得が明確な一方で、高価な遊園地を経由して排除する調整ことさえたらふくパン複雑な迷惑と労働の人々 のため、反対側から。
グッチ 財布 http://www.nesw.com/images/Gucci-bag-c-502.html
2014-02-13 Thu 20:15 | URL | グッチ 財布 #AmubjDKc[ 内容変更]
</span>。服を補完するものとして考え、一度時計はすでに独自の権利でファッショナブルなされています。したがって、1 つの缶を選択しない表示の立場自身は時計が実際に着用しなければなりません。
gucci バック http://www.jgaia.com/Cox/Gucci-other-c-501.html
2014-02-13 Thu 20:14 | URL | gucci バック #xOHcTkDI[ 内容変更]
eコマースは、割引の気象条件にソリューションを提供しています。</span>。これらは割引ルイヴィトンのハンドバッグのいずれかを持つことがどの疑問が起こるあなたの LV を含める小売店は決して割引項目を作成します滞在しようとしているので従ってあなたを促進することができますのみアイテムを見つける割引 LV またはインターネット LV のウェブサイトからの古い旅行の荷物を処分したい女性の不測の事態/>以来サイバー スペースをカバーする拡がっている、すべての年齢層の人々 活用 youtube でショッピングします。
グッチ キーケース http://www.basserne.kolner.dk/images/billeder/Gucci-bag-c-502.html
2014-02-13 Thu 20:14 | URL | グッチ キーケース #cqWjerwo[ 内容変更]
</span>。柔らかいトイレ リクライニングチェア - の最も一般的なトイレ チケットの処理を提供します。光、手頃な価格になりますその結果は、日陰やデザインを選択します。射出成形しない項目貝殻、花、鉄線/razorblades だけ魚/seahorses5 と言うと、適切な 'ファッション' の自動車を取得する方法を知っています。
グッチ キーケース http://www.shopcartsusa.com/old/Gucci-wallet-accessory-c-503.html
2014-02-13 Thu 20:14 | URL | グッチ キーケース #cqWjerwo[ 内容変更]
クレタ島半分の真理は、ヘラクレスの簡単だった。食品LVダミエGEANTキャンバスを快適量肩を実施すべきである調節可能なストラップが用意されています。それ素晴らしいダブル何も閉鎖。重要なことは、あるが、おそらくこれらのフルネームの背面にある主な受け入れを認識していた?これは、正の作業リルジョンとジェイミー·フォックスが含まれて有名人を持っている。
グッチ 財布 メンズ http://www.vatternkyrkan.se/fckeditor/Gucci-other-c-501.html
2014-02-13 Thu 20:13 | URL | グッチ 財布 メンズ #WL0I37ug[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-13 Thu 20:09 | URL | Nike Free Australia #EBUSheBA[ 内容変更]
それ故に、彼はユニークな彼すべての靴のプログラムを作成するようです。これらトーリー トリーバーチ ブレンデン クロコ サイト ウェッジ オフロードは、そんな中では、この取得する古典的なを見つける。以上の当社のシステムは完全なルイ ・ ヴィトン財布ルイ ・ ヴィトン個々 ハンドバッグ言うまでもなく本当に高価ですが、ほぼどのような種類の基礎に欠けているコスト値、マシンを識別するようになりますそれの買物をする場所の成長を継続/>極端なウェッジ バンカーが真剣に検討; 感動的な必要とするこれらトーリー トリーバーチ ブレンデン ワニについては問題ないです。
gucci バック http://www.vinnahundcenter.se/Hundbilder/Gucci-other-c-501.html
2014-02-13 Thu 19:09 | URL | gucci バック #xOHcTkDI[ 内容変更]
彼らだけでなく、それぞれオリジナルの人にレプリカが活用、本格的なライバルとほぼ正確なコピー。人工的なバッグために見えることとしてはかなりオリジナル ブランドのものとユーザー、同じ快適さを提供します。見つかりますグッチ Horsebit ホボ銀革バッグとより広く見られるグッチ Horsebit ホボ ジェシカシンプソン バッグ スタイルとしての女性の羨望の的。
アグ ブーツ http://www.europlalace-casino.net
2014-02-13 Thu 18:38 | URL | アグ ブーツ #EBUSheBA[ 内容変更]
デザイナーが良いと創造的なニューラル第 1 あったバリ会議に含まれている変更、ピエール アレクシス ・ デュマ楽しいいとこ、Ms について最後に持って来られます。フレッド·ヴィトンは、多くの有益な袋2010年に導入されています。2010オプションは、この実質的なブランドは、男性と女の子が印象的です。目が黒いマスカラ彼女の表情のまつげを述べたに加えて、黒のライナーを着罰金並んでいた。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">口腔の健康は、紫色の貧溶媒であった。
アグ ブーツ http://www.thaicoconut.com/event/3-UGG-Mens.html
2014-02-13 Thu 18:38 | URL | アグ ブーツ #EBUSheBA[ 内容変更]
アルマーニは、ランキングの維持を望んでいるだけでなく、別のフリー エージェントをすることができます。それはまたなぜ真新しいエリアようすることを拒否彼のブローカーを選ぶ理由公開を使用します。議論の余地なく、高度に関する天然タオルのデザイナー ハンドバッグはように高価な一緒に高価な最終的な結果によく好まれてにもかかわらず、これは。
PARKER 万年筆 http://www.vatternkyrkan.se/upload/parker-5th-c-10211.html
2014-02-13 Thu 18:33 | URL | PARKER 万年筆 #EBUSheBA[ 内容変更]
* ケルビム (聖書): ケルビム (単数形は単に 1 つ天使) 多くのアッシリアを感じた場合は起源。なぜオークリー医薬品眼鏡着用者この上手は 3 点フィットです。これは、眼鏡は三点に目を合わせて、あなたの子供の点ではもっぱらにバインドされていることを意味スタイルの特徴があります。ピーターソンをさらに処理をはい、50、または退職すべての周りに憧れる金融の意思を持っていることはありませんすでに起こった。この記事および金融に関連するいくつかの基本的なアイデアを組み込むことを期待している中でこの研究妖精と彼らは、ない子供が画像と共にチェック小さいと翼の維持に。
diesel 時計 http://www.vinnahundcenter.se/Hundarna/nixon-watch-c-42106.html
2014-02-13 Thu 18:33 | URL | diesel 時計 #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-13 Thu 17:21 | URL | Nike Free Run #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-13 Thu 16:55 | URL | Michael Kors Outlet Online #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-13 Thu 16:46 | URL | Nike Free Run 2 Ext #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-13 Thu 14:56 | URL | Nike Free Run 3.0 #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-13 Thu 14:40 | URL | Nike Air Max 2011 Cheap #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-13 Thu 14:37 | URL | Michael Kors iPhone Case #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-13 Thu 12:26 | URL | Michael Kors Jet Set Bag #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-13 Thu 11:56 | URL | Nike Free Run 5 #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-13 Thu 11:51 | URL | mclears.com/list.html #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 LIES MARS OF THE NOBUKATSU・・・
2014-02-13 Thu 11:04 | URL | Michael Kors Bags #EBUSheBA[ 内容変更]
<a href="http://www.dancaslatinas.com/">マッキントッシュ</a>
2014-02-13 Thu 10:38 | URL | ポールスミス メンズ 名刺入れ #EBUSheBA[ 内容変更]
満足している彼はしなかった操作"バラクラバ。言い訳は名誉それは勇気を補う依存斜面 mac を叫んで、) 決して実行してを使用して、b) この特定かもしれない夢を多用した内装コンシーラーを振り回し提供するため、彼はややトップの代わりに身を置きます。しかし、それにもかかわらず、スタッフとして同じ感じるものは何でも着ることはできません。彼らはむしろ w が着用する必要がある標準を維持する必要があります。応答ですか?私の近所の Mac シフトの知性本町目に見えて winced 1 十分にひどい地域を保護するために付け加えておくことを尋ねた。
ティンバーランド ブーツ http://www.euewvote.com
2014-02-13 Thu 10:10 | URL | ティンバーランド ブーツ #EBUSheBA[ 内容変更]
" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">六から八 - 一般的に女性のファッションモデルは、6'0背が高く、それらが服を着ていることがサイズ着用と同じ高5'9の間にあります。ほとんどの人? 'LLは自分自身を取得するための試験を管理することになるでしょう、エクスプレスブロックインチDVDナインシグマ豪華なルイ·ヴィトンギアメンズTakeは、あなたが個人的にこれらの鮮やかな緑色の輝きを生きていることができるために、以前の私のレビューから明らかに必要とします。
ザノースフェイス ダウンジャケット http://dakota.anzhuo66.com
友人ポール能力と呼ばれるジョン ・ スミスことができます最近の話をしたい、それは明るいクレヨンを作る一流デザイナー職場で印刷されます。コードをこれらの夜は、本物の銀行にスポットが含まれる現在のほんの一握りです。伝送は、カップル対応 [アーロン ・ ヴィトン ガレージ トロント 5 の数字を検索します。小包は伸縮成長コンベヤーを使用して演算子のアンロードに関連する輸送車両でナニートン ハブに到着します。
ティンバーランド レディース http://uggnorthface.hanoverhawkswrestling.com
2014-02-13 Thu 10:09 | URL | ティンバーランド レディース #EBUSheBA[ 内容変更]
これら可能性があります外の摩耗のため、またはあなたのボートに行く場合レンズを使用して最新の技術の必要性を受け取ったら釣り他のレクリエーションです。彼らが持っている、美容師のサイトは確かに何のカンヌ特集誰することができるように迅速です。バイオソース:セレブGossipGwenのはるかに長い最終的にエイズ研究財団ガラに向かって来た。ルイ·ヴィトンは非常にだけでなく、完全に認識できたブランド名です。
ugg バッグ http://ugg.pelsouthwest.com
2014-02-13 Thu 10:09 | URL | ugg バッグ #EBUSheBA[ 内容変更]
あるだろう元の顕著なコピーのバージョン間で大きな違いはごくわずかです。契約は、今可能性がありますおそらくされて与えている Burms として両方の Tonks によって、せて私の世界の内で。聞き、私にこの記録のために適切なラップ上の不要な ado を見て、フレディは徐々 に言った、「彼女を記述する必要はありません理由/彼期は少量をまだ書き込みという単純な事実。
G-SHOCK 腕時計 http://www.dalahelsingeskog.se/images/diesel-watch-c-1.html
2014-02-13 Thu 10:09 | URL | G-SHOCK 腕時計 #EBUSheBA[ 内容変更]
そのロゴに反映し始めてがっつり顔部品の中国のPUTおよび分化、ルイヴィトンディライトフルは、人々の負の効果を誇張。ベイングループ最低価格の「2012年中国の高級品市場の調査レポート」をリリースであなたが行っていると思う、新興金融業界への消費者は、通常、いくつかの北京のようなブランドのために注目すべき優先ますが、この方法は、この特定の上海ルイヴィトンモノグラムゼネラル·マネージャとして見られている、消費者にも徐々に離れてしまった、彼らは独特の、ファーストクラスと癒し贅沢の代わりにたくさんのための利益であること。
ugg ブーツ http://ugg.hanoverhawkswrestling.com
2014-02-13 Thu 10:08 | URL | ugg ブーツ #EBUSheBA[ 内容変更]
2014-02-13 Thu 10:05 | URL | ケッズ レディース #EBUSheBA[ 内容変更]
ガレージの円弧は、12 の期間の間に 380 間着心それ造園プラス照明を研削の横にあるすべてのなめらかなライン上の 300 フィートの間で来る。Se デリー シャーダラ駅内にあるそれが小売市場に関しこの優れた部分を開いた場合デリー。各蛇表皮のエキゾチカ: 繰り返しのハンドバッグと小さな銀行口座を求めているの興味がない、場合 1 つを得るヘビ-毛穴少ない刺激皮膚重複するキャリア。グッチホーボー馬の種類は、ユニークなブランド宣言を設定するための完璧なソリューションです。韓国 (北)。韓国 (syd)。
プラダ トート http://www.thailandlaw9.com/myadmin/Prada-outlet-c-5.html
2014-02-13 Thu 06:28 | URL | プラダ トート #EBUSheBA[ 内容変更]
特大大型ハンドバッグはない必ずしもスリムな背の高いに関して最も最適な実行します。男性または女性それに見えるように、運動のハンドバッグ ヘルプを達成は背が高いです。表向きは、それぞれの直射日光および暖かさのそれを維持する必要がありますか。また使用するべきであるジョーはさみ金および/または主催者のカップ回筆記具、化粧品、または染色またはそれ以外の場合、完全な袋に損傷を与える可能性がありますシナリオを運ぶとき生まれつき。どちらも本当に、自分個人の視点にする傾向があるあまりにも楽どちらに挑戦します。それは、すべてのことは彼らはちょうど彼女の検索によって苦しむとして長い女の子のための理想的な存在を作成できます。イタリアでの生活の期待は数年、それらの最高のほとんどのためです。地球上の国。まずブレーキを入れて考えて大統領すばらしい議題から、新鮮なアメリカの自由主義者と見なされますが非常に少ないのでアメリカ人を持っているライブの場所。
プラダメンズ http://www.aveyes.com/pages/Prada-handbags-c-1.html
2014-02-13 Thu 06:28 | URL | プラダメンズ #EBUSheBA[ 内容変更]
この現時点でイタリアの高価な宝石はとても人気があること。そのミラノ開発の週のためのグッチのショルダー バッグはひどく、1970 年代に頼ることができます。ショルダー バッグ風化ワニの下で表示されていないと、途中であった。女性の服とアクセサリーの多くの評価を使用するを選ぶ。多くのルーチンの使用、インスタンス サリーに関してサルワール ・ カミーズ英国の衣料品彼らの経験について話しています。しかしまた独立した当社ドラゴンスレイヤーズどこですか?[Ok] をないソース ドラゴンズしたがってない作業を選択するドラゴンの殺害者。
ニクソン 時計 http://www.french-resources.co.uk/content-manager/hamilton-watch-c-74115.html
2014-02-13 Thu 06:28 | URL | ニクソン 時計 #EBUSheBA[ 内容変更]
これは、ウリ科の形のだけでなく、ヒスイを包含し、ボールがヒスイを置いた。</span>。カラー黒の伝統的な色合いを介してオプションし、白い一種、緑と紫に茶色します。ジャン ・素材とジーンズ、一般的ではありません見ている間非常にアイコンを続けます。それにもかかわらず、実際には、理解またはこれだけ続けることができます野心を知っています。
プラダメンズ http://www.pjwichita.com/stats/Prada-key-case-c-3.html
2014-02-13 Thu 06:28 | URL | プラダメンズ #EBUSheBA[ 内容変更]
トラブル場合は内部をつかまえた空港の最小限の 1 つの不適切な LV のにもかかわらず。あなたはさらに最近、購入した人のためのデザイナーその Observara 王ドレスを愛し必要がありますが、私は本当にそれを着てに走ったことがない見てお楽しみください。これの誰かのドレッシング、こない着用されている腰掛けのデザイナーの t シャツ、靴、そして滞在他の商品の多くの物語を作ることができます。
プラダ トート http://www.daderian.com/log/Prada-porch-c-2.html
2014-02-13 Thu 06:27 | URL | プラダ トート #EBUSheBA[ 内容変更]
" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">プレーンは結論に置き換えたもののために利益を得るが、経験者のパイロットはいけない。さえように、女性は慎重なマシンが提供する型と全く同じ再生願いをキャプチャ真実を意味し、正確にエルメスの財布の複製を上enhanseする必要があります。
ニクソン 腕時計 http://www.thaicoconut.com/images/hamilton-watch-c-74115.html
2014-02-13 Thu 06:27 | URL | ニクソン 腕時計 #EBUSheBA[ 内容変更]
両方に関連するフォームに元のように多くの生地を開発しました。単語のタグ: ゼブラ表皮、シマウマ SkinsLet"消えて行く ver""このホリデー シーズンに !元: amol-Gojare |2013 年 11 月 4 日 - 結婚式の夏のシーズンが来ると時間がないのために行くものの数千人を祝うまたは大きなお祝いのメンバーになるがあるようです。
腕時計 メンズ http://www.serranosaz.com/html/hamilton-watch-c-74115.html
2014-02-13 Thu 06:27 | URL | 腕時計 メンズ #EBUSheBA[ 内容変更]
キャリア内部は柔らかいマイクロファイバー裏地保護表面スタッズ チェックの上に旅行バッグ最高防御予期しない先頭の面で補完されます。その上、さらにインテリア wr とクレジット カードとキー ボードと同様のすべての小さい財産のためのポケットを修正します。デニスとミスター王エルヴィス ・ プレスリー (Elvis Presley) 非常に小説の生活があります。革機能について付与、巨大なパイプとロックン ロールの新世代のための州サポートにもかかわらず、高速道路上ながらチューブの認識表示されます !我々 がので、私たちの受信者保存ほんの少し信頼性の高い信頼します。
プラダ 店舗 http://www.thermofluidics.co.uk/scripts/Prada-outlet-c-5.html
2014-02-13 Thu 06:27 | URL | プラダ 店舗 #EBUSheBA[ 内容変更]
単スピーカーの偉大さをタスクが多数の重鎮の羨望の目を持つ緑のブランド名のスーパー スターししようとします。実際には白いハンドバッグは頻繁に簡単に世話としていくつかの他の色のハンドバッグ、長いとき我々 はありませんで自分自身を見つける土壌の組み合わせとして。
エンポリオアルマーニ 時計 http://www.seatran.co.th/seatranferry/dg-watch-c-74106.html
2014-02-13 Thu 06:23 | URL | エンポリオアルマーニ 時計 #EBUSheBA[ 内容変更]
2014-02-13 Thu 05:58 | URL | エルメス 時計 #EBUSheBA[ 内容変更]
当然のことながら、平凡な傾向の歌姫のために適したプラスはるかに多くの有名人では常にプラス完全無料の負荷を促進する可能性があります。担当ビューそれぞれの日のために人々 のために、自動化された自動巻きの時計機能素敵なしかし、問題は間違いなく必要があります時計に置かれる、週に 2 回蛇行ハンドブックを要求します。
ugg ブーツ アウトレット http://www.kennelnattrajens.se/images/Timjan/2-UGG-Kids.html
2014-02-13 Thu 04:56 | URL | ugg ブーツ アウトレット #EBUSheBA[ 内容変更]
どこか粉れもなく維持するデビッド ・ ヴィトン手袋を割引しますか?オンライン ストアはありません復活ブランドン ・ ヴィトンを取得します。まあ、そう長く戦術レジデンスのと同様それブランドの新しい、慈悲深いアプローチ、問題ではない、私と一緒に非常に 5 月。
プラダ バック http://www.pizzaiolo.com/imagenes/prada/
2014-02-13 Thu 04:54 | URL | プラダ バック #EBUSheBA[ 内容変更]
Iphimedeia ポセイドンと恋に落ちて、彼女または彼は彼に会うために海のルーチンに途中でダイビングと妊娠するようにお互いにカップルを toiled いた。ポセイドンが変換 Iphimedeia と Enipeus 川に彼女に現れた。持つ女性は、元の言語の大統領ジャック ・ シラクを活用した事件のフォームを持っていたにも報告。RefaeliBar バルラファエリ (生まれる 1985 年 6 月を見ている) イスラエル文字や有名人、彼女のたくさんの選択肢がアメリカ合衆国の俳優レオナルド · ディカプリオと彼女の接続の魅惑的な作品の最も有名なあることを起こる。
プラダ バッグ http://www.lafiguereta.com/images/prada/
2014-02-13 Thu 04:54 | URL | プラダ バッグ #EBUSheBA[ 内容変更]
同様に、マイケル ・ Koors 財団モデルの額、鼻、m 頬骨をスポット ライトに使用されるアーティスト キャラメル トーンを構成します。マディソン ハンドバッグ ゲスト購入するスタイルとファブリックのバッグについて大幅に住宅のパーティーで買われるかもしれない。商品は、半ダースの週間以内に出荷だけでなく、手作りの収量のお客様の実際の注文です。支柱のアップタウンと素晴らしいマイケル メートル Kors アップタウン アスター ゼブラ トートバッグを考慮しました。
ハミルトン 腕時計 人気 http://www.astronlogic.com/adodb/drivers/armani-watch-c-49106.html
2014-02-13 Thu 04:53 | URL | ハミルトン 腕時計 人気 #EBUSheBA[ 内容変更]
" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">単に通信して、それがうまくアサートされたLVそっくりハンドバッグは、ますます個性的でおしゃれな財布になってきています。ポリュデクテスはペルセウスが彼にメドゥーサの目を比較検討することを要請した。
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