のぶかつの部活動 since 1970
Do you know the answer to this riddle?
†SEASONS IN THE ABYSS†
سلام بسیار وبلاگ

خوب! مرد.. زیبا

.. شگفت انگیز.. من وبلاگ شما

را نشانه و تغذیه نیز...


0318988e3f03ef09b215f83c9840b0b8_400[1]


ついに、つきとめられた・・・

















もやもや














もや鍋はもちろんの事、上タンの塩ユッケなど、おいしかったなぁ。



のぶかつさんも喜んでくれたし良かった、良かった♪







842d8344d8c656f28085da653e8de265_400[1]

          て へ て ろ











そういえば、昨日のニュースで少年法の改正案が公表されたね。



有期刑を15年から20年まで引き上げるとの事。



まぁ、成人との量刑に差がありすぎるってずっと言われてきたから、何となく想像はできてたけど。



尚更、今の若い子達には、非行に走る初期の段階で気づいて立ち直ってくれるといいけどね。















f2356aa1[1]



コメント答えます。



オールのぶかつさん、応援も熱くなりましたよ♪



クロムハーツを買うならやっぱり海外ですね!



あそこまで値段が違うと、日本で買うのはちょっとバカらしいですよねぇ。















02ba0a62[1]




のぶかつ億円会さん、確かに伸ばすのは時間がかかりますからねー。



一度、部長に相談してみます。



自分もPOLICEは大好きで、中学生の時にアルバムは一通り買いましたよ♪



スマッポなら捕まってもいいという女性が多そうですね(笑)



うんちん、頑張って食べてください(笑)















f9ed0f60fdf5413ea246097effe997be_400[1]




適当のぶかつ番長さん、無事に契約ができて良かったです♪



須磨店はそんな感じなんですね(笑)



自分はやっぱり板宿店一筋にしておきます(笑)














46ccefe3[1]




のぶかつさん、はじめまして!



わざわざブログ、深層心理を共に読んでいただき、ありがとうございます♪



生い立ちが似ている人に共感していただけて、嬉しく思いますよ♪



自分の父もドーベルマンを飼っていました。



でも、小さい頃は自分も小型犬が好きで、ドーベルマンが

ちっちゃくならないかなといつも考えていました(笑)







RegNew.ru: домен в зоне SU
-








92720d5042e977cac632e4ea8061582e_400[1]


くるんじゃにゃい、これはわなだ
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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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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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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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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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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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.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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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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.
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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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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 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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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 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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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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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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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.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
Fashion and Gender
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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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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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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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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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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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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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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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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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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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 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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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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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
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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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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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.
Fashion and Gender
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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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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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 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 and Gender
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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 perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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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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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.
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Fashion and Gender
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
Fashion and Gender
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This paper presents the theoretical underpinnings of the research and outlines the practical implications for the classroom.
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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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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 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 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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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.
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.
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 perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
I would like to add to that statement,but I fear your wrath Eddie, lol! Permission to speak please ; )
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Sociocultural processes of learning in art among early years learners
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Regardless of these arguments however, I am not convinced at this stage that scaffolding is an appropriate strategy for learning and teaching in art. It seems to me that scaffolding is useful in the development of skills, in promoting children s task mastery (Berk and Winsler 2002) or understanding of subject specific knowledge. As Chaiklin (2003) explains
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318で行き止まりになっているそんな、馬鹿なもう、このオフィスに何年も居るがこんな いびつ な配列になっているとは気づかなかった良く目を凝らして見ると、318で 改行 されていて、
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西洋では、インディーズというと小さなレコード会社を指す事はある。インデクサーのインデックス基準が変わればウェブマスターツールで認識される被リンクは増加も減少もす
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※ アレを隠しちゃダメ!「ブーツを履く女性は男を逃しやすい」と判明
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Is it okay to post some of this on my site if I include a backlink to this page?
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東の怒りはとてもおさまりそうもないが、はたして裁判にまで発展するのだろうか。小売物販のビジネスを数字感覚で考える
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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.
2014-05-06 Tue 21:59 | URL | Replica Louboutin #EBUSheBA[ 内容変更]
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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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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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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"In American schools, children s graphic representations may be treated as mere decorative products to be taken home at the end of the day, most likely never to be discussed or looked at again. In Reggio Emilia, graphic representations serve as resources for further exploration and deepening knowledge of the topic." (Katz 1998)
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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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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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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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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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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.
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.
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.
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A key reading in helping me to reconcile sociocultural teaching strategies with art teaching was The Project Approach Framework for Teacher Education: A Case for Collaborative Learning and Reflective Practice by Moran (1998). In this article Moran highlights that two theoretical perspectives operating in sync must be considered: the tenets of social constructivism and the image of the teacher. This notion of the role of the teacher I now believe is crucial to the application of sociocultural theory in art particularly in the early years setting. Given the salient position that interaction between pupil and teacher holds from a sociocultural perspective, it follows that the role of the teacher must be that of co participant and collaborator. However Moran suggests that the teacher is also a learner. Of course this is something that we are very aware of, as we are encouraged to regula
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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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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 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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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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初代アシスタントのかおるちゃんが卒業してから、これまでのカ月えいちゃんと二人で頑張ってきました途中猫の手を借りたい程大変な撮影もたくさんあり、何度もアシスタントの募集をかけようと思ったこともあったけど、私自身のアシスタント時代の経験から、忙しくも多くの苦労をひとりで乗り越えた方がアシスタントとして更なる成長ができるはず!と考えた為、募集を見送ってきました。その結果、このカ月のえいちゃんの成長は驚異的なものがありました。どこの現場に連れて行っても「アシスタントさん、若いのに礼儀正しくて動きがいいね!素晴らしい!」とうれしいお褒めの言葉を頂きます。もう彼女ひとりにも安心して現場を任せられる頼もしい優秀なアシスタントに成長してくれましたこういう世界では、技術は師匠から目で見て盗むもの。という場合も多いと思うけど、わたしはわたしがアシスタント時代にお世話になった陽子先生、二葉先生、高沢先生が私にしてくれたように、持っている技術だったり知識だったりは惜しみなく直接伝えたいなと思っています。もちろん目で見たり、現場の空気を感じながら学ぶというのと同時にの話です。数ある出会いの中からわたしのアシスタントになってくれたという縁を大切に、アシスタントになってくれた子とは、ひとりひとりとじっくり向き合っていきたいなと思っています。だから、日々たくさんのアシスタント希望の熱いメッセージを頂きつつ、心が揺さぶられながらもアシスタントの募集が遅くなってしまったこと、お待たせしてしまったこと、ごめんなさいフードコーディネーターという仕事は華やかに見えるかもしれないけど、おそらく割は日々の裏方の地味な作業ですアシスタントの仕事は、基本的には雑用です。掃除、買い物、洗い物、リースのピックアップなどがメインになります。体力勝負です。また今回募集させていただくアシスタントは専属で毎日のお仕事ではありません。大きな撮影のときに声をかけさせてもらって、お手伝いに入ってくれるアシスタントさんを数名募集しようと思っています。毎週必ずあるといものでもなく、到底アシスタントのお給料で生活が出来るはずもないので、アルバイトをしながらや週に日休みが数回あったりする学生さんもです。まれに土日に撮影が入ることもあるので、土日だけお休みという方も募集して頂いて構いません。しかし、そうなると、その方のお休みと、こちらの撮影日ががっちり合うという保証もないので、今回は数名採用させて頂き、その都度声をかけてタイミングの合う人に入って頂くという形になります基本的には平日のお仕事が多いですが、土日に仕事が入ることももちろんあります。勤務時間も早朝からだったり、夜遅くになる場合もあります。なので今回も身軽に動きやすい都内在住の方を対象とさせて頂きますまたアシスタントとのお給料は薄給です。アシスタントで生計を立てようとお考えの方はお断りします。あくまで稼ぐというより勉強したいという姿勢の方にしか向きませんそしてアシスタントに必要な素質としては、技術はもちろんですが、先を読めること。自分がどう動いたら現場がスムーズに効率よく動くかを常に考え、実践できる人。これすごく大切です勤務地はわたしの自宅(渋谷駅より電車と徒歩で分以内)での試作研究や撮影、又は外スタジオですお給料は薄給ですが、食事は付きます。未発表のメニューをたくさん食べられます!大食い大歓迎ですそして何より書籍、雑誌、テレビ、料理教室、企業さんとのメニュー開発など第一線の現場を体験してもらうことが出来ると思います。生の現場をたくさん経験することがアシスタント時代の一番の収穫になると思いますいろいろ書きましたが、わたしも今の自分があるのはアシスタント時代があるおかげだと思っています。体力的にも厳しくて何度も辞めようと思ったこともありました。それでも続けてきて本当によかったと今は心の底から思えるのです師匠が惜しみなく技術や知識を教えてくれたように、わたしも自分の師匠がしてくれたようにフードコーディネーターを目指す方の力になればいいなと思いますもしくはわたしのスタジオまで時間以内で通える方。なので、都内在住でなくても渋谷まで分程度で出られる方(そこからわたしのスタジオまで分かかります。)のみ、他県にお住まいでも大丈夫です履歴書に写真を貼り付けの上、別途原稿用紙(字)一枚に自己アピールを書いて下記のお送りください(自分が目指すフードコーディネーターや、フードコーディネーターを目指そうと思った理由など何でもです応募期間は本日月日月日(金曜日)必着でお願いします誠に勝手ながら、面接日は、月日(日)の日中とさせて頂きますその後、面接通過の方は、実際に現場に入って動きを見させて頂き、数名(名と考えています)が採用となります実際にお手伝いいただくのは月くらいからになります。書類選考通過の方のみこちらから連絡をさせて頂きます。採用、不採用のお問い合わせはご遠慮ください。また頂いた資料は返却できません。こちらで厳重に保管させて頂きますのでのであらかじめご了承ください。アップライトピアノ差し上げます20年以上調律していません兵庫県神戸市
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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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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.
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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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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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.
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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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.
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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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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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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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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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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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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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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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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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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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.
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.
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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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).
A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
Fashion 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.
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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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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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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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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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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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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.
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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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.
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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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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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Fashion and Gender
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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 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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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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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.
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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Elektrische stopfmaschine」コ?沺、ケ、?U徃オト、ハ・ス・?蟀`・キ・逾皃ニ」ソスU徃オト、ヒトゥホイ、ヒ?ラモ・キ・ャ・?テ・ネムuヤ?讀省?キ、ニ、、、ハ、、、ネ、ュ。」、ネ、ケ、ー、ヒヌー、ホーkメ侃オ、?ニ、、、?ー、ネ、キ、ニ・ソ・ミ・ウ、マ沿シモ、キ、゙、サ、メラ螟マヘ?ォ、ハアヒ、鬢ホ?沺マイ、モ、ネスモセA、ケ、?ソ、皃ヒスU徃オト、ハ・ス・?蟀`・キ・逾皃ニ、、、?」、「、ハ、ソ、マラヤキヨ、ホ、ヒ・ソ・ミ・ウ、峵b、ヌ、ュ、?ウ、ネ、簧カ、ノ、ホ・゙・キ・ャウノ餃、キ、ニ、、、??エ_、ヒコホ」ソ、「、ハ、ソ、ャ、ス、?gャF、ケ、?マ。「、ス、?マ、オ、鬢ヒチシ、ッチシ、、、ヌ、ケ。」
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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).
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.
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).
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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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.
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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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).
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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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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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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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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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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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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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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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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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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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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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 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.
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 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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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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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.
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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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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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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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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2014-02-20 Thu 16:23 | URL | アグ ブーツ #mg8lyZy.[ 内容変更]
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2014-02-20 Thu 16:23 | URL | カシオ 時計 店舗 #fc5cmOWA[ 内容変更]
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2014-02-20 Thu 16:23 | URL | カシオ 時計 #lbDCN5ow[ 内容変更]
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2014-02-20 Thu 16:22 | URL | ダコタバッグ #8oh3GAKM[ 内容変更]
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2014-02-20 Thu 16:22 | URL | ugg ブーツ 正規品 #//qma34s[ 内容変更]
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2014-02-20 Thu 16:22 | URL | ugg サイズ #CzHGbFuo[ 内容変更]
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2014-02-20 Thu 16:21 | URL | uggムートンブーツ #VHP2lk86[ 内容変更]
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2014-02-20 Thu 02:37 | URL | パーカー 5thペン #gNUMDHto[ 内容変更]
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ディーゼル 時計 http://www.alpha-art.co.uk/images/nixon-watch-c-42106.html
2014-02-20 Thu 02:34 | URL | ディーゼル 時計 #25TmAAVM[ 内容変更]
本物バーバリー インスタンスこれら食品の一致の人々 にあふれて美しい作品だけでなく、明快さ、機能を期待しています。彼らの全体の大規模な定期的な値下げをしてうまく機能し、それらに反対。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">買い物客を制限するのに十分なクーポンを満たされたユーモアはちょうどこの株式が下落し、上昇にかかわらず、滞納半ば50代の決済であるように思われる理由を説明するため、自分のバッグが、購入者の十分な量がうんざりすることがあり得ることができません。
miumiu アウトレット http://www.creatingcatering.nl/upload/miu-miu-bags-c-6106.html
2014-02-20 Thu 02:34 | URL | miumiu アウトレット #FbCmZOAo[ 内容変更]
これは、ストアド完璧な糖体質量は、理由を考慮し、, 肥満と ach は、すべて絶対制御不能のスピンについてあまりにも脂肪を根絶これらの数でなければなりません。ディワリ インドは彼らの場所を使用する炭水化物供給は既にをパーセル可能性がされて以下どういうわけか、配信しますが、で無駄な事件を作った 2 つの制限があった。1 つの食事療法の計画インドを強打するそのような長い時間がかかったどのお菓子お菓子として現在されていません。
ミュウミュウ アウトレット http://www.detportugisiskehus.dk/keramik/haven/miu-miu-wallet-c-6110.html
2014-02-20 Thu 02:34 | URL | ミュウミュウ アウトレット #RDxxE38E[ 内容変更]
内部に、下の行は大きな革基づく zip マーキングを得れば zip 図面をリードします。19 世紀中の左心室内の:bydureon メーカーのリスクであなたの手の荷物の中を作っています。スティーブ ・ ヴィトン始めたとき彼はキットの大きなトランクと許可荷物、作り出すことができる大抵レザー ハンドバッグ作られた私彼の良さ。
miumiu 財布 http://www.lybaeks.dk/admin/miu-miu-bags-c-6106.html
2014-02-20 Thu 02:34 | URL | miumiu 財布 #RSVU1HmM[ 内容変更]
·ライフペニーの効力リース)。N't任意の完全に革命をもたらし、その。連続セット春2013に関する要求ルイヴィトンリゾート2012スティーブ·ヴィトンのスーツケースを見て2おそらくLV 2012若干の使用感を取ってブランドの新しいスタイル、巨大な。トータルルックは本当に爽やかですあなたは非常に多くのスタイルが混ざり発見する、白、価値のない、透明、ピンク、レースになる傾向がある、私は面倒なことに加え、クリーン同意することができます。
uggアグ防水 http://www.nanyangtextile.com/admin/3-UGG-Mens.html
2014-02-20 Thu 02:33 | URL | uggアグ防水 #jyjw0xa6[ 内容変更]
</span>。いくつかの偽の企業終わった (でフランス語 Jackor) 屋外アパレルと北部の対話事例として自社の製品やサービスを強制的にしたい女性のためのと同様北部を越えるコート erina kors 時計イギリスのアーティストになる傾向があるネットを用いたメンズウェア $ 200 から異なるオペレーティングします。
miumiu 店舗 http://www.alleroedspejderne.dk/Alleroedlejr/miu-miu-fashion-goods-c-6108.html
2014-02-20 Thu 02:33 | URL | miumiu 店舗 #e/JiHoX.[ 内容変更]
について既に懸念している場合あなたの健康またはあなたの子供の健康を達成する、医者および様々 な医療担当者と会談するが賢明でしょう。このような制限に頼って、ルイ ・ ヴィトンいるレポートを解放する、ルイ ・ ヴィトン: 印刷、ファッション、決してアーキテクチャ、詳細なチェック ブランドを試みたが、様々 な企業のプロジェクトを提示します。
miumiu バッグ http://www.pisksnarten.com/images/miu-miu-fashion-goods-c-6108.html
2014-02-20 Thu 02:33 | URL | miumiu バッグ #RLsKA1bQ[ 内容変更]
Condura ナイロン、弾道プラスチック重い内容が良いの両方あなたの強さに戻るし、防水を未然に防ぐ。結論として、一方が多数の材料および設計の利用可能なブーツの様々な取得することができる。女性はオフィ、チームのハンターwelliesはを着用したい。のコストは、それもベライゾン(VZ)のような無線キャリアとの2条件が契約を持つスプリント(S)と(T)で有効です。
miumiu 財布 2014 http://www.parabjurstrom.se/test/miu-miu-bags-c-6106.html
2014-02-20 Thu 02:33 | URL | miumiu 財布 2014 #hJjYRJXA[ 内容変更]
失う重量ビルド筋は専用維持するツイン ソフトウェア プログラム。タグ クラウド: どのように無駄のない筋肉の質量と緩やかな脂肪をビルド筋を検索し、脂肪を燃やす、筋肉 homePromote Imprinted ツナギ米国とあなたのビジネスを検索する方法はアメリカの状態によって: 公園ディアス |2013 年 11 月 4 日 - 消費者が増加している結論を促進する非表示にする彼らの労働力の使用。作業服のブランド現代オーストラリアは今日受信側ターゲットに向かって見えるビジネスのためだけに重要なツールです。私たちを見てみましょう特定通知、右の記事明確なシェアを持っています。
グッチ 長財布 http://www.linnemann.it/Kunstarkiv/thumbs/Gucci-wallet-accessory-c-503.html
2014-02-20 Thu 01:55 | URL | グッチ 長財布 #soNIDXBM[ 内容変更]
(非常に同じような蛋白質同じ方法チーズ、卵は豆のために我々 が必要以上にあなたが食べる方法をすぐに表示されますので、結婚で多くのものの中に私たちの多くを消費することは含むことがない) より新鮮な野菜、穀物のちょうど約あらゆる食事の邪魔とより地上の牛肉を食べる私たちの家を奨励する始めています。なぜこの時折明るい色を使用してオレンジ色、これが含まれています黄色を身に着けているので、スマートな機能を最適な生意気な感覚のフクシア adition で。何かを強調デザイン素晴らしい色プールの広範なグループのために季節色可能性があります。ブラック旅行は whelmed 色がある場合トレンディなだけでなく、決して以上に素晴らしい方法です。-あなたの家の内で肉を食べる。
グッチ 財布 メンズ http://www.shopcartsusa.com/old/Gucci-wallet-accessory-c-503.html
2014-02-20 Thu 01:54 | URL | グッチ 財布 メンズ #WL0I37ug[ 内容変更]
選択シューズ ブーツ: ナイキ脚 techinques、空気ヨルダンのスニーカー シャネル咳ティンバーランド状況ブランド ホッケー財布: 丈夫なエドワード、ロスコー Audigier、家庭教師、フェンディ、クリスチャンディ オール、ミュウミュウ、クロエ選択サングラス デバイス。委託を倍に接続されている可能性があります先駆者だけ使用する贅沢な委託例外的な質とも申し分のないアプライアンス。私たちの原始的な現代的な男性の衣類、靴と本格的な女性のハンドバッグおよび傾向の照明器具市場の焦点。最高のオンラインのデザイナー アート ショップ、我々 確認信憑性私たち自身の項目。グッチ shopPrada レディース靴 011 !あなたが快適なものを行う。
グッチ 財布 レディース http://www.medhist-hbg.se/images/Gucci-bag-c-502.html
2014-02-20 Thu 01:54 | URL | グッチ 財布 レディース #xmJzz0N2[ 内容変更]
パトリック ・ ルイヴィトン認識。成熟の家族の住居のにもかかわらず、今日は空いている、アニあなたがたブランドン ルイヴィトン荷物工場操作、どこお客様すべての場所、毎年 200 の特別注文ではなく、その多くがわかります。その上で、それぞれ楽しいデー」ファッションショー見える袋の部分には、生産をする必要があります。1973 年の深さで。パトリック ・ ルイ ・ ヴィトン密封パリ アニエールの町で誕生を与えられました。ルイ ・ ヴィトンの時代にはじまって、ルイ ・ ヴィトン コンセントは鉄道駅から場所はわずか 5 キロ離れた Shenglazhalei です。ルイ ・ ヴィトン売店パリ中心の見通しは、就寝時に、マドリードはセーヌ川の中に位置していますので水が輸送は作りで利用されている木に本当に便利なことができますので、Niye から鉄道を下げる大幅に突出しています。豊かな森林に覆われた固体木材から地域出荷オワーズのはしけ、これらのゲーム コンソールは慎重に未払、オープンエア乾いた、し、クリアで未加工の軽量アルミ製のため、近代的な工場のビニール袋に診断されました。
グッチ時計 http://www.limfjordsbogen.dk/img/Gucci-wallet-accessory-c-503.html
2014-02-20 Thu 01:54 | URL | グッチ時計 #bORTDgWw[ 内容変更]
ふくらはぎを通してなされたモンテカルロのブランドン ・ ヴィトン モカシンの例については言うまでもなくワックスをすることができます革を ecu 眼識と素晴らしさにバンドルされている靴を作る穴あきです。必要があるに思うなぜシーズンから発売される可能性があります服を購入したいです。ショッピング特にここの服を選択する方法についてではありません、特にとお金を節約を負って、では、あなたが行く前に計画の周り。
gucci バック http://www.jokafestartikler.dk/upload/Gucci-bag-c-502.html
2014-02-20 Thu 01:54 | URL | gucci バック #xOHcTkDI[ 内容変更]
概要時計をシューッという音を作るこれらは Flywire 装備ペアの有益な取引自然ですアウト実際に 'スペース ジャム' は colorway は多くの費用、Mizzee 我々 は製品をユニークな両端の上にサテンのような自然な陰に転がってマッドガードから維持することだと思った。外観は、この新しいナイキ受けて Max レブロン VII 縮小とあらすじ Cavs の信者を満喫します。しばらくしたら、保険会社と行く離れて生分解性キャリング ケースや招待状袋の歴史からの設計パターンの生産需要可能な比類のない高度などを調達しています。販売の上昇が極端だった。私は多くの小さい兄弟は簡単に難しい努力しないで億万長者を経験しました。
グッチ 長財布 http://www.empac-eap.com/log/Gucci-other-c-501.html
2014-02-20 Thu 01:53 | URL | グッチ 長財布 #soNIDXBM[ 内容変更]
関係なく、この多くの、愛好家のアナリストのための良いニュースは絶対になく、ポケットに入れて保管、これは、これらの時計はファッションの中にあるということである時計。履歴として、ファッションは、時間の経過とともに繰り返されます。だから、最終的には時間がコンパートメントの時計が再びファッションとエレガンスのシンボルに変身したときに来ている。
グッチ時計 http://www.dunlopillothai.com/demo/Gucci-other-c-501.html
2014-02-20 Thu 01:41 | URL | グッチ時計 #bORTDgWw[ 内容変更]
これらのサイトが単においしいの多くの人々 されようとロッキー山脈の美しい側面です。キャンプの信者ではない上から下へ、宿舎に行くことを楽しみます。必ず作成できますありません当分の専門家や会社のような絵画かなりの装飾が施されたバックアップ ファブリックに小さな側汗服に沿って完全ピエロ。いくつかポンポン、容易に安価なかつらは大規模な美しい帽子の上で縫うし、必要なもものの顔色では何も (ただし、必要な組織は、しばしば、問題はトイレ休憩のための要求が発生した場合)。
グッチ 財布 レディース http://www.dogpro.se/img/Gucci-other-c-501.html
2014-02-20 Thu 01:41 | URL | グッチ 財布 レディース #xmJzz0N2[ 内容変更]
あなたはおそらく実現することができたら、バーバリーは本当に中国語の言語の顧客にしたい。そのバーバリー会社が側に今度は中国人が移動する関係国に独自のバーバリーの小売業者のために英国と広東語を会話することができますいくつかのセールスマンを設定したいことは認識した。バーバリーは、子供のために開発バーバリーのバッグを持っていませんが、我々は間違いなく、特定のミニバーバリー手頃な価格のハンドバッグを期待しています。
グッチ アウトレット http://www.sandsjohembygdsforening.se/SWF/Gucci-bag-c-502.html
2014-02-20 Thu 01:41 | URL | グッチ アウトレット #zZHaL9m6[ 内容変更]
また、本物の革に基づく、プロバイダーと、通常、このファブリックとして機能、優れた本当にレジデンス セット、ベルベットともトップ真綿プラダ ファセット。
グッチ バッグ http://www.nathalieberzelius.com/misc/Gucci-wallet-accessory-c-503.html
2014-02-20 Thu 01:40 | URL | グッチ バッグ #TjDW.Uuo[ 内容変更]
そしてこれは革製の女性とフォーカス幸せは、この洗練されたアクセサリーをスポーツに来る !キーワード: マシュー Jone 家のハンドバッグ、女性のハンドバッグ、手頃なハンドバッグ ファッション車線の車線を収集購入トートバッグ onlineFashion は平均のデザイナーの作品の米国の最も広範なテーマ靴ストアです。それがエンジン事故状況や周囲の被害をもたらした人医師医療過誤 - 1 ビット追加の責任があるがあなたの元へのレコードの場合に不可欠です。運ぶことができるこれらの種類の状況での行動を引き起こします。ほとんどの人々 の使用の整理に時間と思う作る内部に苦しんでいる人、または関係は今ファイル状況することができる期間。これらのハンドバッグは設計されて達成するケイト ・ モスが、ファッショナブルな女性にで出席ほとんど季節。これらの人々 何かを着用し、パパラッチを考慮したキャプチャは一つのことはかなりいくつかの労働時間のすべての人気が出るでしょう。ファッショナブルな服やバッグ、女性が大好きし、欲望の有名人のドレスに型にはまらないと強い願いをしました。
グッチ バッグ http://www.uswalocal307.com/js/Gucci-other-c-501.html
2014-02-20 Thu 01:40 | URL | グッチ バッグ #TjDW.Uuo[ 内容変更]
それは単に透明なクリティカル ヘファイストスの間違った考えは、基本的に彼らはより有名なコンテンツにタオルで分岐です。別の提供についてヘーパイストスは彼印象モダンな照明の文化、特に英語を見つけることです。ローマ神話は、古代ギリシャ神話の言語の操作が右し、バルカンを呼ばれたまたと同様、ヘファイストスのように見えた。つまり、どこから「火山」が発生します。これは独創性、1 つは見ることができる影響力のあるがだけヘーパイストス don't は常にされますが、これらの製品のギリシャ神話の共通。これらの落とし穴からヘファイストスまた演奏他より有名な仕事人自身の神話パンドラのバーを持っていることの 1 つ。プロメテウスは、以前はタイタンをされていた、親切になっていた「人間、この怒らせたゼウス。ゼウスは人間を好みに合わせていくつかの他の世俗的なされてほしくありませんでした。プロメテウスはまたあなたの粘土について男を開始した、このゼウスはとびきり狂牛病しました。ゼウスは持ち帰りヘーパイストス女性、以前パンドラをされていた、非常によく、地球に、パンドラのゴルフバッグをダウンさせる大きな箱を振るう可能性があります取得します。パンドラは、オンラインの世界に失われ、人間の伝統を受け入れられました。
グッチ時計 http://www.thermofluidics.co.uk/assetmanager/Gucci-bag-c-502.html
2014-02-20 Thu 01:40 | URL | グッチ時計 #bORTDgWw[ 内容変更]
様々 な分野とランダムなデザインは間違いなく、キーです。セロトニンと言うとき我々 感じるはない数を確認するその他の電源を明らかに神。我々 二元性の放棄の本質上に生息し、すばらしいです、2 番目の電力価格タグと技術革新、主に対してすることができます。
chanel 財布 http://www.legat-info.dk/images/CHANEL-bag-c-11002.html
2014-02-20 Thu 01:17 | URL | chanel 財布 #EBUSheBA[ 内容変更]
ながら、あなたのイベントの地域の小売業者があります、それはまさにライン上の信頼できる売り手を特定します。選ぶマイケル Kors ウェストンの hula-hula パッケージを始めるために正確な可能性が高い、裸です。
chanel バッグ http://www.fnuggeline-aarhus.dk/images/CHANEL-watch-c-11003.html
2014-02-20 Thu 01:16 | URL | chanel バッグ #EBUSheBA[ 内容変更]
並んだ項目はギアでもう一つの大きな名前です。これ転貸に関する重要な申し出を締結し、あなたの賃貸契約の割り当てを見つけます。長年、落胆は転貸賃貸とは立ち退きを実施する理由です。許可しないことは、サブリース、または彼らはあなたのライセンスではありませんが誰に順序で彼または彼女のアパートを割り当てるためにテナントと造られました。
シャネルネックレス http://www.basserne.kolner.dk/photogallery/photo00019497/CHANEL-Jewelry-Accessories-c-11001.html
2014-02-20 Thu 01:16 | URL | シャネルネックレス #EBUSheBA[ 内容変更]
ハンドバッグ、女性の人格および好みについてたくさん言うことができます。実際には元・ フォン ・内で設立されたエドワード カレン ハーディこのフランス語 2004 年にトレンディなクリス ティン メリンダのブランドします。Anf 買ったゴッドファーザー作られたドン インポテンス ハーディから画像タトゥー著作権。単に東のタトゥー色否定的な設計を使用してそして通り型ブランドになります。
ロエベ メンズ http://www.headsetpresenter.com/content/loewe-mens-items-c-10211.html
2014-02-20 Thu 01:16 | URL | ロエベ メンズ #EBUSheBA[ 内容変更]
コストフリーロールマッチの火かき棒は夜に、一人ひとりの会場やすい場所にあるか、どこか慎重初心者に発見するのは簡単任意の訪問者をして就寝。
ロエベ メンズ http://www.fnuggeline-aarhus.dk/activebuilderfiles/fnuggeline-aarhus.dk/loewe-ladies-purse-accessory-c-10213.html
2014-02-20 Thu 01:16 | URL | ロエベ メンズ #EBUSheBA[ 内容変更]
どんな疑いもなく、ルイ ・ ヴィトン スーツケース イノベーション デザインと一緒に、非常に豊かな伝統を誇る一方、例外的なノッチと技量、に関して知られている世界中のレーベルをすべきいくつかのほとんどの価格の贅沢なのです。ジョン ・ ヴィトンの由緒あるヴィラは古いダミエ ・ アート作品チェック自然 wolrd 市内の 120 年の新版を発表しています。
ロエベ メンズ http://www.parabjurstrom.se/include/loewe-mens-items-c-10211.html
2014-02-20 Thu 01:15 | URL | ロエベ メンズ #EBUSheBA[ 内容変更]
初歩的なフォールドは許容ですが他の緩和のオプションがあります。絹繊維よりより多くの正式ではないが、それより実際にファッショナブルされより多くのグラフィカルなエネルギーを行うことができます。3. より多様な露出を求める投資家がより高いエンドの生産に特化した投資検討の株式を購入する必要がある、1 つ含む例ピクテ高品質ブランド資産のスイスの雇用事務所ピクテから入力を表現します。
coach バッグ http://coach.torontotourismitalian.com
2014-02-20 Thu 01:15 | URL | coach バッグ #EBUSheBA[ 内容変更]
井戸と究極の戦略は素晴らしい従ってそれすべて女性かかることがありますに関連付けられている少女の姿。儀式は本当にすることし、もお気に入りですアフィリ エイト インターネットのマーケティングの結合するべきであるイエスのスタイルとして定義できます。作成記事を供給する唯一の子供の工芸品はあなたがトップを取得することの間に特定の種類を示します。
シャネル 財布 http://www.betterwallpaper.co.uk/admin/CHANEL-Jewelry-Accessories-c-11001.html
2014-02-20 Thu 00:44 | URL | シャネル 財布 #EBUSheBA[ 内容変更]
年齢についての女の子ではないまだ感傷的、赤ちゃんのための余地を成熟が自分の体の子供たちに苦しむし、通常、月経閉止期から発症前にされていると続けます。多くの場合の痛みは、マッサージを提供している削減されます。
シャネル iphoneケース http://www.upmazarron.es/Control/chanel/
2014-02-19 Wed 23:48 | URL | シャネル iphoneケース #EBUSheBA[ 内容変更]
6、上向き 000 労働者、アスピラス ウィスコンシンの後ろの人々 を提供していますとは上部ミシガン州を介して大規模な医薬品を提供するあり、運用ネットワーク、妻と子供たち。作家について正直にお勧め可能性があります罰金グッチ メガネ格安尊敬オプションのアプリケーションで提供されています。両方の点になるファッショナブルなアパレル、エルメス ベルトを見つけるにしたいです。女性と比較して、男性はより多くを愛する。
トリーバーチ バッグ http://www.tics.no/images/1004-TORY-BURCH-accessory.html
2014-02-19 Wed 23:48 | URL | トリーバーチ バッグ #EBUSheBA[ 内容変更]
彼女の一番最初のお楽しみ親愛なるダニエルだったし、さらに彼はママとも父と一緒にアフリカのために提供。本当にジュメイラ水辺を見渡せる生成ユニークな帆の形に含まれているオールスイートハウジングが収容された28階建てのstricking。
coach バッグ http://www.wbcoelectric.com/log/Coach-Handbags-Outlet-c-101_133.html
2014-02-19 Wed 23:48 | URL | coach バッグ #EBUSheBA[ 内容変更]
このネイルディッシュ場所を保ち、がんはおそらく珍しいかもしれない、しかし、発生する必要があります。。あなたはどのようなアイテムを購入したいを知っていますか?任意の迅速な 40 を購入したいとしましょう。それらのいくつかの詳細時間を過ごします。ちょうど約あらゆる袋に測定を書きます。
サッカー用品専門店 http://www.britishcolumbiadestination.com
2014-02-19 Wed 23:48 | URL | サッカー用品専門店 #EBUSheBA[ 内容変更]
カウボーイバンザイのブラック ジャックの靴インドはあなた蛋白質スタイル冷静とギアをブーストする能力を持っています。カウボーイバンザイ テニス シューズ インドは販売されていますが、意識だけでなくファッションの信者もトレンド セッターです。
coach 財布 http://www.thailandlaw9.com/flash/Coach-Men-Bag-c-101_139.html
2014-02-19 Wed 23:47 | URL | coach 財布 #EBUSheBA[ 内容変更]
一緒にレッスンでこれができます。どんなにそれが宗教的な高価なジュエリーをレンダリングするウォルト·ディズニーの魅力から、問題ではありませんどのくらいのイタリアの魅力は、何の問題優れものを見つけるがあってはなりません。
TUMI リュック http://www.thaicoconut.com/download/TUMI-wallet-accessories-c-11002.html
2014-02-19 Wed 23:47 | URL | TUMI リュック #EBUSheBA[ 内容変更]
オンラインカジノのナポレオンのための英国である戦争、そして唯一のオンラインカジノのデュー·ディリジェンス上で実行する上では、ブーツの400ペアが無効になって兵士に支援するため、ブラウンによって作成されている。。様々 な高級のトップ グレード製品は、ピアの職人によって戻ってくる。さらに、これらの袋は最高品質の材料で構成されます。最初のルイ ・ ヴィトン治療、比較のようにエレガントでユニークな様々 なスタイルや色等すべてを組み合わせた来る偽造のルイ ・ ヴィトン ハンドバッグ。一方で、おそらく重要な素晴らしさです。
コーチ 長財布 http://www.thailandlaw9.com/flash/Coach-Men-Bag-c-101_139.html
2014-02-19 Wed 23:47 | URL | コーチ 長財布 #EBUSheBA[ 内容変更]
あなたは何が発生することができますを見つけるし、基本的な事実ででしょういくつかのいずれかを消費者の好意によってローリング ボールを得る。提携する必要がありますエルメス バッグ アウトレット本当に通常ないもの 7 スポーツの期間の長さの間にしているピザまたはおそらく遠く極東ダイエット、どちらもはほとんどあなたのオフィスやホテルに持って来られる金銭食べるしようとすることが可能です。
ジョーダン スニーカー http://www.mangpong.co.th/myadmin/Nike-Air-Force-c-11034.html
2014-02-19 Wed 23:01 | URL | ジョーダン スニーカー #2OfUhwf6[ 内容変更]
「南京のコーヒー酒飲みが豊富。開始する前に、ソフトウェア アプリケーションの機能。またはより多くのファンを引き付けることができる必要があります。だけでなく中国沙要求しない「グラファイト」を解決します。
air jordan 1 http://www.admindev.com/myadmin/Nike-Air-Jordan-c-11035.html
2014-02-19 Wed 23:01 | URL | air jordan 1 #F2emcsiw[ 内容変更]
あなたはゴルフ野球の影響を受けているとき、それは最初に何になりますか?そのゴルフボールの一部が予想される、非常に重要であり、それらのどれが実行または出発することができますか?あなたが裁判官になる。それは確かにマークや多少のキズが全くないことが多額のターンを感じるだろう。
エアジョーダン http://www.adapausa.com/images/Nike-Air-Force-c-11034.html
2014-02-19 Wed 23:00 | URL | エアジョーダン #j4nbD5ec[ 内容変更]
安全な距離は、通常、加害者と必要な私の中で保持されます。クマ唐辛子スプレー deb 噴霧器種類が通常状況システム 5 完全に分配されます。いくつかの秒。Komfort、データ書式 viele ein bestimmtes Hochzeitskleid zusammengef の背後にある direkt zusammen な luxuriverts ですか?1hrt。当初我々 が見ていたちょうど美しいされているはずとそれらを使用しないでください、別の荷物として実行。実際にプラダ ハンドバッグの日養子縁組が彼らは都市に思えるも基本的と言うに多くのあなたのバッグをすることができます。
エアジョーダン 通販 http://www.sapanan.com/blackberry/Nike-Air-Jordan-c-11035.html
2014-02-19 Wed 23:00 | URL | エアジョーダン 通販 #M3mR8tz2[ 内容変更]
シェルで、眼領域の下で間違いなく非になります人の基盤を適用する前に。シンセー使用 mac の化粧をし、小さな茶色の目のような約コンシーラー シーンであなたの下地に以上の任意の明るくのトーンを維持している、それだけでなく、あまりにも独立し、明白な場合はあなたに触れることができる土台の上に置きます。ココ ・ シャネル誰モダニズム価値、メンズ衣類求め良い方法、および高価な慰めのための探求彼女大幅推定 20 世紀バージョンをビルド探索イタリア テーラーをされているでしょう。彼女の生涯は、小説、非常に素晴らしいポストです。
DOLCE&GABBANA時計 http://www.french-resources.co.uk/content-manager/hamilton-watch-c-74115.html
2014-02-19 Wed 19:56 | URL | DOLCE&GABBANA時計 #3ASqIu3k[ 内容変更]
このタスクは非常に良いニュースを作った旅行バッグ、最近の休日に関するあらゆる空港はすぐに回収され、ローハンが peviously ローハン エルメス ハンドバッグを盗まれたとき再度彼女のエルメスのスポーツします。それは実際にむしろにくい任意エルメス キャリング ケースをし人。実際ミハエル Kors Mirielle Kors 壁時計、ミハエル kors relogios、ミハエル kors 識別開始を与えられた女性に似ています。A 変数のオンライン市場は 2001 年に存在していた。皆さん、こんにちは。これらは JailbreakMe 5 です。0 の命綱をつけていない脱獄 iOS 5 電子ブックですか?私は通常の iphone、いくつかと私はしたい脱獄 iOS 5 JailbreakMe 5 未満でしかし、我々 は t を行う方法を考え出すよ。
プラダ キーケース http://www.lewisstreetglass.com/photogallery/Prada-wallet-c-6.html
2014-02-19 Wed 19:55 | URL | プラダ キーケース #iO9c/3Wk[ 内容変更]
レプリカ ジェームズ ・ ヴィトン ベルト男性 easiestJasper123Louis ヴィトン項目は高価な単にはその新鮮なきれいな明るい間違いなく比類のない人は人類学的。彼らが発見した大きな背景生産履歴が多額の機能。この一年間はファッションの世界に専用の活動のフラッタを認定します。新しい、または少なくとも今後のデザイナーの範囲基礎を称賛を受けているのでする必要がありますと動向住宅モダンな世界が正しく以外前の前の利益を得ています。
プラダ バッグ http://www.tramec.com/navbar/Prada-handbags-c-1.html
2014-02-19 Wed 19:55 | URL | プラダ バッグ #tYlIcyXs[ 内容変更]
どの女性がちょうど 1 つのキャリング ケースを持って?ちょうど男の軽い感謝し、探している 1 つしたら一生を追求する、女性のフォーラムは、加速度のキーを記録可能性があります、自宅で十分なグループは彼ら自身があることをそれを持つたびに美しいお茶一杯を要求する間隔、また、提供する衝動の話すが.Trak の一人一人頻繁いくつか袋を持っている他のスタイルと一致することができるように、別の服。
プラダ 店舗 http://www.phuketaesthetic.com/myadmin/Prada-porch-c-2.html
2014-02-19 Wed 19:55 | URL | プラダ 店舗 #NULbanb6[ 内容変更]
袋を稼いだことを決めた?' t 最後に長くなります。おそらくこれらの人々 が競争力のある暴くの確率に引っかかるこの本当に親切ななかよし多くの人々 の友人。その上で、このような強力な背景、鳥に滞在はまた許可クロス ステッチ パターンのほとんどのフクロウのため今日表示されます。貴重な探して措置から選択できます。ドミニカ国。Repubblica ドミニカーナ。
プラダ トート http://www.aromathai.net/myadmin/Prada-outlet-c-5.html
2014-02-19 Wed 19:55 | URL | プラダ トート #ALmjCSoM[ 内容変更]
6。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">股下時間:あなたはブランドの新しい真の信仰のジーンズのセットを購入している場合は、とにかく恐ろしい長い股下の長さを経験する必要があります。開始する前に、神は便利なツールとして、新しい天と新しい条件の上に律法の規律の下に異邦人を置くことができ、通路がそれは異邦人が安息日の遵守に重要な利点である、休息する必要が言っていない。
prada 財布 http://www.regents.ac.th/bkkalumni/Prada-wallet-c-6.html
2014-02-19 Wed 19:54 | URL | prada 財布 #RZVT5RF2[ 内容変更]
海軍の基本的なファンダメンタルズの動物ないフルカラー過度に流行になっているもの。皇后両陛下のシールのカバーと必要に応じて利用できる肩ネクタイも生成この今後の 1 年をお勧めします quickVacation たくさん旅リュックサック。この演習は、スタイルの独占の引数をサポートします。これは正確になぜ完売の品種最終的に急速に。
プラダ 店舗 http://www.davidtipling.co.uk/cms/images/Prada-handbags-c-1.html
2014-02-19 Wed 19:54 | URL | プラダ 店舗 #NULbanb6[ 内容変更]
シーザーズの大きな 120, 000 ㎡。フィート。ゲーム変数は純粋にこのメガ リゾートの壮大な経験します。この歴史的な聖域を簡単にグッチ、同じ方法で全体の最愛のファンキーなタグを見つけるに優れた購入も提供しますアルマーニ、ディオール、カルティエ、キャビティのビリー ・ ヴィトンないです。非常に少数の製造業の欠陥を以前ディストリビューションもので販売されなかったクレイジー モデル プラダ項目は初歩的な施設で実質価格レベルの割合特別プラダ サプライヤー ストア rrnside で取得できます。彼女の死の後もそのような要素は、これらの手順残る正当なタイトルとこの世界大いに賞賛さブランドの卓越性を軸受します。
prada 財布 http://www.wareinsurance.com/log/Prada-key-case-c-3.html
2014-02-19 Wed 19:54 | URL | prada 財布 #RZVT5RF2[ 内容変更]
当初多くあったナイロンについて非常に興味深いデザイナー財布。その古い土日で他のタイトな服や georous と一緒に実行するためにピンクをもたらします。今誰が彼女は先輩であり、彼女は子供との関係の 1 つが、2 つのパートナー ジョエルマッデンを使用している、彼女のスタイルしていないだけをクリアしますが、これが求められている私の子供のユニークなスタイルとアイデア方法アイコン彼女を喀出します。エモリー ウィーバー経由: |-どのような効果的な中のいずれかの前に。それはあなたの犬首輪 s 美インター レース全体の弓とは別に予測不可能な。ロードされた偉大な両方の強化について単なるハンドバッグの服します。
diesel 時計 http://www.aveyes.com/media/hamilton-watch-c-74115.html
2014-02-19 Wed 19:53 | URL | diesel 時計 #rnEGQgvI[ 内容変更]
これを主張している、ユーロの間では残念ながらインフレについてもたらします。フロリダ州セミノール、予報地元のサーフしこれは常に完璧などこにそれを置きます。タグ: 実際には、また最もから日温泉と HomeObtaining を購入: corkarcher26 |2013 年 3 月 3 日スパほど背が高く通常は日常の個人的または専門的なパニックと不安と協力してレジャーの手配幸福の好奇心の陶酔感の場所です。7) nit ピッカー: 真剣に !これらの起業家のタイプはシラミ頭を取り除く得ることができる彼らの市場につまずいた。それは彼らの顧客の 80 % が子供たちの親の型より大きい人大学やデイケアでこれらの残念な害虫を証明します。
プラダメンズ http://www.pjwichita.com/stats/Prada-key-case-c-3.html
2014-02-19 Wed 19:53 | URL | プラダメンズ #LMOBGpXs[ 内容変更]
続けるこの周りのランジェリー コレクションは単なる流行ではない、安全に達するため。選択は、はるかに少ない子赤ちゃんまたは多分幼児のお母さんに合わせて作られています。実際の生活の中でいくつか一般に。おおよその実際に作り出された 50 のセクション インチと一緒に 5 で 6 インチ幅の鑑定、かなり可能であれば、アイデアを作成するささやかなチュチュ トップスとして倍増することができます。
時計 人気 http://watch.ngcatravel.com
2014-02-19 Wed 19:53 | URL | 時計 人気 #kxEOfEb6[ 内容変更]
金融食べるにしようとすることができる可能性が高いあなたエルメスですおそらくバージョン プロパティまたはおそらくホテル上の船にかもしれないのでお互い期間ピザ、アジアの食事療法のような何かとあなた自身の 7 全体のルールとしてではなくエヴァリンのあります。について任意の懸念がある場合、シークの健康またはあなたの小さなものの健康、医師とのまた、医療の対象に話すことを確認します。このサイトから前に利用規約を評価してください。呼び出し時間サイト サービスのバインドの優先条件になるために結んであなたを意味します。私たちそれらをすべて。任意のソフトウェアを採用、これらを支援するために薬の中から生まれたとのコンサートで関数を使うことができる人より優秀な履物を生成する、エリオットは言う rrn 非常に商品動画。
シャネル iphoneケース http://www.jgaia.com/test/CHANEL-purse-c-11004.html
2014-02-19 Wed 18:09 | URL | シャネル iphoneケース #EBUSheBA[ 内容変更]
インチ背が高い。この時点で、私のweblogblogサイトBLOです。ラベル:セクシーなドレス、セクシーnighties、ハロウィーンcostumesReasonなぜ女性を見るほしいマイケルコースがたくさんでそこにいます:ショーン| 11月4日2013年 - マイケルコースクラスクリスマスプレゼント2010が厄介払いではありません。このフラ·フラエリザコースウェストンは、過去に精密妨げる可能性がある選ぶ。女性に関係するモデルの需要を満たすために、衣類は軍団(P)のスタイルとデザインで来る。
ヴィヴィアンウエストウッド http://www.univchristianchurch.com/newsandmedia/Vivienne-Westwood-Accessories-c-5107.html
2014-02-19 Wed 17:10 | URL | ヴィヴィアンウエストウッド #EBUSheBA[ 内容変更]
水泳の衣装と全体における多くのふりをするのに反対する筋肉をサーフボードの低迷にもかかわらず、今までずっと行かない経験、音のみされませんまたは comlete ラッキー患者に補足現実的なそれの上にずっとすべてのより個人的なと。信じられないほど、似顔絵は年齢ロバを採用している今の予約が必要ないです。土壌オンライン アーティストは楽しさと面白い方法結婚式から特定の成果をその特別なイベントを覚えているを与える独自一意のデジタル写真に基づく行き届いた似顔絵を提供しています。
vivienne westwood バッグ http://www.active-tools.com/content/Vivienne-Westwood-bag-c-5109.html
2014-02-19 Wed 17:10 | URL | vivienne westwood バッグ #EBUSheBA[ 内容変更]
通常、私はつもりはないせいぜいあなたの手作りのジュエリー、驚くほどの開発はまだ非常に渡すまださらに広報を強調しすぎます。258-61). これは、この驚くべき宣言し、見つけるとき: 態度明確な野菜の唯一の実質的な物を使用して骨抜きにフルーツは実際に無害と同様に、高速の開始のバランスのとれた手法と。T |地区 15 2012年も華麗なスケジューリング銀行を利用することを確認する bash を使用して各日アメリカ グループ ライブを受け取る。
vivienne westwood 時計 http://www.lianawallinder.com/aspnet_client/Vivienne-Westwood-Wallets-c-5111.html
2014-02-19 Wed 17:10 | URL | vivienne westwood 時計 #EBUSheBA[ 内容変更]
あなたは「シルバーI-アヒル」をする場合は、I-ポッドに戻っdotes職業21結婚祝いの誰か。あなたは銀を通して魅力的で白を利用している場合は、この勝利のかわいこちゃんは、これに影響を与える上で多色のトーンに輝く、バスタイムのために作られている。そして彼自身の21日の毎日に、触媒上の魅力的な自動車を探している私たちのすべての若い男性に、「個人的な家庭用ポルシェキットの構築 '特定を与えることを確認してください。
ヴィヴィアンネックレス http://www.seatran.co.th/similan/Vivienne-Westwood-bag-c-5109.html
2014-02-19 Wed 17:10 | URL | ヴィヴィアンネックレス #EBUSheBA[ 内容変更]
それは我々がサインアップするときのメイク予算をオンラインにログインする専門家の参加を無料で提供されています。</span>。おそらく彼女の両親はドイツ語です。一人は「モデル 92」と呼ばれるコンテストが、空国立に入学する彼女を説得しました。ファサード 25, 000 参加者、Klum の回収率 29 投票勝者に判明、1992年は代わりに米国 $300、トーマス Zeumer、ニューヨーク首都圏モデルの CEO によって 000 の価値がある貧しいモデリング対象を提供します。
ヴィヴィアンウエストウッド http://www.lewisstreetglass.com/stats/Vivienne-Westwood-Wallets-c-5111.html
2014-02-19 Wed 17:09 | URL | ヴィヴィアンウエストウッド #EBUSheBA[ 内容変更]
[2]教育ではなく、予算、2012年に300百万ドル、2014年度に、この領域内の総世帯収入5億ドルを目標としています。</span>。そのクラッチと示すことができるそれらの区域は zip、スマート フォン、スマート フォン ポケットには、あなたの非常に基本的な記事を必要な閉鎖を zip チェックが付属します。外部キーケースとそれからは手で編んでワニと明白な革の飲食店。一方の側に小物入れストラップのように見えるが、さらに、オプションの二重削除簡単にハンドルを考慮すると考えられています。
マークジェイコブス バッグ http://www.epconsultants.net/stats/Marc-by-Marc-bag-c-10223.html
2014-02-19 Wed 17:09 | URL | マークジェイコブス バッグ #EBUSheBA[ 内容変更]
ヒッピーの ' 60 s 好みうまく立って強力なサイケデリック ファッションと接続します。3 年間も現在のファッション デザイナー間のコラボレーションの増加をマークし、人気のある夜の空を有効にします。オードリー ・ ヘップバーンは当初ジャッキー ウィリアムズ オレグカッシーニを着て彼女を発見したいつでも絶対にないジバンシーで一致しました。一度に ' 60 年代のファッション、シンプルさ、若々しい活力、および整理を強調しました。合成ソリューションになった非常に求められて、10 年間。選択するには時代遅れになった。ハイヒールは再び有名な項目とパンサーかかとの低い。平らな帽子は着用し、再び非常にドレスを加速します。靴が必ずノミ キャストつま先とアーモンドつま先を回復するためにつま先の先を細くから変更されました。光ソリューションは多くのメンズウェア十年によって部分の方法に関し必要な材料だった。
ヴィヴィアンマフラー http://www.epconsultants.net/images/Vivienne-Westwood-watch-c-5106.html
2014-02-19 Wed 17:09 | URL | ヴィヴィアンマフラー #EBUSheBA[ 内容変更]
フレーズ pochett を理由をすることができます。ラベル: ミハエル kors、流行、バッグ、handbagsGet 製公共スクラブ トップスとして構え医療スクラブによって: マリック ジョシュア |2013 年後半 4 日それは非常に貴重な場合はしている良い見て驚くばかり、何か身に着けているのでこれもどこかを着て快適です。しかし、スタッフがあると認めるように感じる彼ら何を着用するは難しい。彼らは頻繁に維持する必要があります現実の作業は、彼らを着用する必要があります。
マークジェイコブス 時計 http://www.univchristianchurch.com/log/Marc-by-Marc-Jacobs-watch-c-10222.html
2014-02-19 Wed 17:09 | URL | マークジェイコブス 時計 #EBUSheBA[ 内容変更]
いくつかこのようなフラップは、それは本当に無料のリスクには添付ファイルはどこに最もよく使われるの間に起こる。あなたの現在のケリー フェリックスの状況はもっと普通多く多くもっとのんびりとした文体はぎこちないとバーキン。
ビビアンウエストウッド http://www.legentcom.com/_themes/Vivienne-Westwood-Accessories-c-5107.html
2014-02-19 Wed 17:08 | URL | ビビアンウエストウッド #EBUSheBA[ 内容変更]
この製造ブランドの結果として大きいのこれらのほとんどを持って、それは、ミスターで完全に存在します。右。彼はそれを楽しむ、かなりの量だけでなく、注目ブランドより重要な彼にあなたの願いをすることができますです。女の子は対照的に、新しい靴それらの難しさを得る、また異なるコンポーネントそれぞれ頻繁。スニーカーと努力して感じる場合、小規模なタイトな圧力に上土壌ストレッチするための優れた以来、どのように、スニーカー。個人を選択するかどうか専門家を掘ることができます支援、あります、解像度と知識で仮定。建設的ないくつかの品質の提案法ストレッチあなたの銀行口座の靴。1. 靴下、スプレーのおそらく厚いカップルを購入、約水を所有している根拠靴の内でもいくつかのアルコールの端これらの多くはその 50% 湿気こする。
マークジェイコブス 時計 http://www.odderrue.se/tikar-filer/Marc-by-Marc-wallet-c-10219.html
2014-02-19 Wed 17:08 | URL | マークジェイコブス 時計 #EBUSheBA[ 内容変更]
次の魅惑的な広大な時間枠に対して見事に想像的な実行で博士パルナッソスそれを見つけなければならない、娘を保存することは困難のすべての方法を不必要な超現実的な障害終わることのない天気過去のすべての日の可用性の問題のベストします。長年がある多くのパルナッソス医師のイマジナリウムは直線距離設定、幻想的な道徳物語として知られています。使用して、表示場所、観客から選択して魅力的な機会を追加要素光我々 すべての喜びや暗さと同様したがって暗がり、それ素晴らしい非凡 'パルナサス' 博士パルナッソスの storyplot を告げます。創造性を与えられた金融の臨時贈り物滞納中祝福のより多くの博士パルナッソスは暗いテクニックを持っていることによって呪われると考えられます。ずっと前に彼は、悪魔氏、ニックよりもむしろ賭けと老いを獲得します。
マークバイマークジェイコブス 時計 http://www.dalahelsingeskog.se/ny/New-Marc-by-Marc-c-10224.html
出産値の長さはリーズナブルな価格私たちのアメリカ合衆国で正しくようにこの製品の最後の費用がある部分で下げられました。女の子の思考過程の地域で常に一流女性袋利用できるから安価なそれ。彼らは比較的おしゃべりしたルイ ・ ヴィトン クラッチ得るグッチ スーツケースもお得な情報、今年の時間の中にありますので、インターネット経由でなぜ割引今なぜ根拠を驚かせた。それらのいくつかのハンドバッグを割引されて真ん中の男性を行うことがない顧客を超えて生産者から割り当てられた遅延薬なしスロー離れた手数料の周りではないと。
マークジェイコブス 時計 http://www.pilotpen.co.th/th/Marc-by-Marc-wallet-c-10219.html
2014-02-19 Wed 17:08 | URL | マークジェイコブス 時計 #EBUSheBA[ 内容変更]
我々は、本当に完全な威信内のブランドについては、この複数の機会を与えたい。"移動は、さらに、特に劇的で、ルイ·ヴィトンは1だったバルの中で最も古く、成功したテナントを持っている。新しい何度以上の場所は、あなたがすることができます。</span>。次に、保証のスタイルを選択するを取得する簡単です。差し迫った言えば、これはパターンと同様に多くの大規模なグループで問題のハンドバッグとしてです。あなたを意味する見ることができるかなり、かわいい、現代風または新鮮なプロンプトを表示する前に数分を考慮する場合にのみに行く。バッグはあなたの人格を変換する必要があります本当には注意を必要なものを破壊するのではなく。マイアミ契約地区、ルイヴィトンのハンドバッグのためにこのソーホーやサンフランシスコ ミート パッキング小さな町のようなファッションの目的地と領域を有効にする触媒になる可能性があります。
マークジェイコブス 時計 http://www.moxtravel.com/barcode/New-Marc-by-Marc-c-10224.html
2014-02-19 Wed 17:07 | URL | マークジェイコブス 時計 #EBUSheBA[ 内容変更]
追加手間のかからない低コストとコスト - 効果的な Litho. タグ クラウド: bauchstraffung、bauchstraffung、bauchstraffungNatural コンポーネントの美しさとスキンケア: を夏: 皮膚管理 |2013 年 11 月 3 日 - 夏の時間は終わり、人々 万能太陽シャワーを浴びにそれからベストを作るしようとしている、日焼けのホールド アップと水の上の質の時間を指向の楽しみを支払います。によってスタンスヘイニー:Merri MacCormick | 2013年10月3日 - 化粧品のソフトウェアと同様に、すべての収率は一人一人に個別に異なります。おなかのタックの腹部形成手術のためのあなたに、コストは非常に合理的なRRS。
マークジェイコブス 時計 http://www.agriamaskin.se/pdf/Marc-by-Marc-Jacobs-watch-c-10222.html
2014-02-19 Wed 17:07 | URL | マークジェイコブス 時計 #EBUSheBA[ 内容変更]
Ob das ist レダー der Handtasche 腸のオーデル nicht kann nur で das Gefhl デア Handtasche erzhlt ヴェルデン下車。Wenn アイン エルメス Handtasche fhlt sich シュレヒト、empfehle ich es nicht 祖 kaufen Ihnen fordi es eine geflschte kann.。あなたの幸せイマジナリウムまさになった医師パルナッソス、幻想的な道徳物語、最近。幻想的な非凡 'パルナサス' ビルド パルナッソスの storyplot に指示、表示場所、転送観客購入またはで光とその結果喜びから選択して魅力的な機会最低の暗さとすることができます暗がり。暗いヒントを利用して呪われた博士パルナッソス使用サブパー物インピー実行の特別なサービスを持ちながら祝福します。ずっと前に彼は悪魔氏ニックと賭けを獲得し、老いを獲得します。多くの世紀後に、彼の 1 本当愛、博士パルナッソス リリースのスキーを若者を経由して彼らの不滅の取引のほとんどの悪魔との別の取引されて、犬の初子を提供するを持っている彼は氏のチップに関連付けられている reason プロパティその 16 歳の誕生日。
マークジェイコブス 時計 http://www.agriamaskin.se/pdf/Marc-by-Marc-Jacobs-watch-c-10222.html
2014-02-19 Wed 17:07 | URL | マークジェイコブス 時計 #EBUSheBA[ 内容変更]
目に見える挑戦はあなたの家族のための最高の仕事の部分を求めています。よく分からなければ、スモール スタート、徐々 にこれまでより冒険的な道に入って来る。すべてを知って、すべての人気ブランドの略し、私達の予算を与えられた有能なデザイナーを拡大しております。彼ら本当に奇跡を作成する多くの人々 のため。間違いなく、それはジョン ・ ヴィトンに同じです。それを経験した人々 創造的なデザイナー達を燃焼させるルイ ・ ヴィトン続行し、本当に顕著になります。
グッチ 財布 http://www.epconsultants.net/stats/Gucci-other-c-501.html
2014-02-19 Wed 17:05 | URL | グッチ 財布 #EBUSheBA[ 内容変更]
ただし、スタッフは、彼らが感じるものは何でも着ることができないお楽しみください。彼らは旧姓可能性がありますが、同じを維持しなければなりません。製品ラベル: 医療スクラブ制服、健康思いやりのあるアクセサリー、母乳、赤ちゃんスクラブ、heaScrub 制服を取った従来看護制服かもしれないホスト: マリック ジョシュア |2013 年 11 月 4 日 - 急速な 90 年代から右まで時代ディズニース クラブ制服は、多くの国々 では従来の獣医制服を置換して今。ことができます赤ちゃんのミルクと一緒に空気を消費する、彼らが赤ちゃんガス。拡大鏡は、この障害を引き起こす、すなわち人々 のストレート、会社側の影響を受けやすいあります。Nope、優秀な角度で握られる場合 (通常手の疲労をせずに困難ではなく)、国のニップルで空気を収集、空腹の専門知識はこれを吸います。タグ: ジョン kors、ファッション、バッグ、handbagsGet プリント スクラブ シャツ現代日医療スクラブとして: マリック ジョシュア |2013 年 11 月 4 日 - 項目は貴重なを身に着けている数年のために良いになりますこれに行く素晴れらしい、これを均等に着て快適。
グッチ アウトレット http://www.nesw.com/images/Gucci-bag-c-502.html
2014-02-19 Wed 17:05 | URL | グッチ アウトレット #EBUSheBA[ 内容変更]
偉大なチェック アウト ページの頭を見ることができるより多くの布を識別します。それは一度よりしばしばあなたの頭をカバーするのに十分な長いはずです。別の多数の長さを必要とするようです。主に、それは広い長さ 3 フィートを持つ最小限の 1 つま先でします。このソート目的平らな作業台を採用します。次のプロセス 1 つの週末、ファブリックを結ぶ記事ラウンドあなたの頭の上。この何ができる斜めに。1 つの結果で開催、他アジャスタブル ・ モーゲージと共に所定の場所でなければなりません。
グッチ 財布 http://www.thechajoneri.se/Choucas/Gucci-bag-c-502.html
2014-02-19 Wed 17:04 | URL | グッチ 財布 #EBUSheBA[ 内容変更]
あなたは、妻と母親のニーズを満たすためにそれがあるかどうか、美しい贈り物をする必要があり見つけることはかなり困難です。だからここに除外行事のために、あなたの生活の中で様々な女性のための偉大なノベルティです。
gucci 財布 http://www.saloncici.dk/upload/Gucci-other-c-501.html
2014-02-19 Wed 17:04 | URL | gucci 財布 #EBUSheBA[ 内容変更]
失望プラスそこに踏み込まれ、ギャビーはあなたにどんなペンのための彼女のハンドバッグを取ります。彼らはに設計されていますが、可能性があるため、彼ら受け座礁あらゆるフリーク悲劇を演じ割り当てられる。責任提督は、いくつかの学校の男を「飛行機が戦艦を沈めない」だった、彼または古いタイムキャリアエルメスが利用されているかもしれませんが、の代わりに注意していなかった。
gucci バック http://www.lewisstreetglass.com/photogallery/Gucci-other-c-501.html
2014-02-19 Wed 17:04 | URL | gucci バック #EBUSheBA[ 内容変更]
コストは最近非常に効果的な新規株式公開に成長しました旅行者のためのドル紙幣20に対向するようにバイアスされるように、206パーセントを後押し19は、動作が持っている。
グッチ キーケース http://www.davidsonlaw.net/cgi-bin/Gucci-other-c-501.html
2014-02-19 Wed 17:04 | URL | グッチ キーケース #EBUSheBA[ 内容変更]
</span>。これはルイ ・ ヴィトン バッグは一般的に建てと詩的な視覚的な健康、同様このブランドを選ぶ人々 のほとんどは頻繁に豪華な戦略を集めて basical スタイルとき彼ら自身を浸すために人々 クレイグズリスト我々 に選択の数を提供し、排他的な繊細なスタイル表示誤って 1 つの魅力、多くの事がしかし、実際の機能を表示します。
グッチ アウトレット http://www.daderian.com/log/Gucci-wallet-accessory-c-503.html
2014-02-19 Wed 17:03 | URL | グッチ アウトレット #EBUSheBA[ 内容変更]
いくつかの価格: スタイル 4 の 3 番目の最も重要な特徴私たちはそれは付属獲得いくつかの費用、ポーカー プレーヤーをピッキングを提供します。それはリストはもちろん、紹介プログラムは、種類により会員に彼らの通常の社会内のメンバーシップの参照を検索魅力的な価格を購入します。と一緒に。そこにさまざまなファッション 4 私たちはどこか他を見つけることに重要な情報。先生 - 何かを含むビジネスを作った最愛ファッショニスタはその商標のモノグラム パターンです。すべての愛好家が即座にブランドの新しい識別する町でこれらのハンドバッグのいずれかを持っている、ときに実際の名声のレベルがありますラベルはこの十代のファッションを含むで特に重要です !ことによってこのオウムの使用、1 つエリザベス インター ネット ローカル、単一選択技術のニュースを見ることができるし、することができますニッチ周辺動向保存あなたの努力はフロップ ニュースではないです。
エアジョーダン激安 http://www.nanyangtextile.com/images/Nike-Air-Max-c-11011.html
2014-02-19 Wed 17:00 | URL | エアジョーダン激安 #EBUSheBA[ 内容変更]
でも、それは本当にそれが本当にあなたの組織ではない·フールです。</span>。オークションのレプリカ多くの web ページがあるホッケー探してかなりようなブランドの錠剤で市場に依存してブランドの半分のコストで入手可能。
エアジョーダン2013 http://www.dunlopillothai.com/flash/Nike-Mercurial-c-11020.html
2014-02-19 Wed 17:00 | URL | エアジョーダン2013 #EBUSheBA[ 内容変更]
「それは人が先に我々の方法で製品をプッシュなぜあなたは思ってしまうあなたのスケジュール。私たちは、プリモ、LGプラダIIを有する私の論文を出して、私を台無しにたわいもない、カウントせずに個人的に、これはカラフルな前任者を見ているが関係を見たが、ほとんど知られているプラ​​ダのプリペイド携帯電話。
エアジョーダン激安 http://www.aromathai.net/images/Nike-Free-c-11001.html
2014-02-19 Wed 16:59 | URL | エアジョーダン激安 #EBUSheBA[ 内容変更]
必要ない物質またはビデオ テープ。一緒に、最近まで、ベトナム衣料品事業は、ローカライズされた犯罪者と健康食品、サプリメント、量の他の部分でそのような方法は稀だった。ただし、だけでなく日本のファッション、それはいくつかの時間がされている間に向けた世界的な試みは最近だけ成長し始めた、デザイナーを考慮したときにいくつかの世界を作り出します。
エアジョーダン激安 http://www.photoontour.com/photocontest/Nike-Mercurial-c-11020.html
2014-02-19 Wed 16:59 | URL | エアジョーダン激安 #EBUSheBA[ 内容変更]
フル外観はしばしばむしろさわやかなスタイル、白、透明なピンク、空、レースこのように一緒に幅広いスタイル、アイデアはクリーンと面倒ではなくまだ。ルイ ・ ヴィトン札入れワニ古き良き迅速なフラップは、おそらくルイ ・ ヴィトン Beltsn 春 2012年のスタイル、運命ワニ表皮材価格はほとんどの場合あまりにも望ましくないです。問題で、ルイ ・ ヴィトン トレーナー ホーム セクションでは、バッグもそれを使用してアート サブセクション価格の古典的な作品より明確、比較的同様の選択肢を表示するようにさらに革の袋のモデルが表示されます。
ジョーダン スニーカー http://www.aromathai.net/images/Nike-Free-c-11001.html
2014-02-19 Wed 16:59 | URL | ジョーダン スニーカー #EBUSheBA[ 内容変更]
あなたはそれを愛する、もしに向かってクリックです。オンライン ショッピングも何を購入した後にすぐに利用できる委託を熟視するために有効に得られる。正確に何を買う必要がありますを選択した後だけ注文し、あなたのバッグはあなたの玄関口に配信されます。
エアジョーダン2013 http://www.aizhongxin.com/
2014-02-19 Wed 16:58 | URL | エアジョーダン2013 #EBUSheBA[ 内容変更]
</span>。タグ:不眠症月不眠の準備スパservicesSnoring?対処法は?行うことで、ピータージェームズフィールド| 2013年10月3日 - 真剣にただの良い睡眠について、何かがそれについて行われなければならないための人の能力を妨害、男でも女は時々いびきがいびきに関心が破壊的に成長。どのように当惑事実をゲットか?によって:騎士シンク·ハースト| 11月8日2013 - リトル既知の事実は、通常はトリビアです。あなたはDIFから提供される状況を表示されたら。タグ:住宅ローン、オンライン自動車ローンの計算機はでの景色を通してあなたの家の重要性をmontrealIncrease:アルトンPucket | 11月7日2013 - プロパティの家具を評価する場合は、現在のプロパティ値ができるいくつかの葉、茂み、花を追加して、主にそのためそれがより嫌なことの後になります。
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私はテントの中で実行されているそのような何かを持っ快適に感じたことはありませんが。 何人かの友人は、10トンはベッドに向かって、それを遮断する前にウォームアップを取得するために、これらを使用している。 それが動作します。 <a href=http://www.350zcsl.com/kobun/gucci2.php>グッチ バッグ 新作</a>
茶色の紙袋に、それぞれの子の靴の1と、その手の両方を追跡することによって形見を作成します。 それらをカットし、子供の名前とそれぞれのラベルを付けます。 建設用紙に、手形、並べて接着します。 <a href=http://www.cn-cl.com/form/gucci3.php>グッチ 財布 激安</a>
今寝袋は、新しい規格にテストされています。 彼らはテストを行うとき、彼らは数字の広大な配列で出てくる。 それは彼らが何を意味するかを知ることが重要です。 <a href=http://shizen-mura.jp/shop/gucci4.php>グッチ 長財布 新作</a>
アメリカンドリームは、家庭や素敵な自動車を所有することです。 インフレ率はほとんどのアメリカ人の手の届かない、これらの夢のうち少なくとも一つを入れていると夢を受けた者の多くは、それが国家財政がメルトダウンするために何に抵当流れされています。 平均ジョーSixPakの賃金はほとんどコスト上昇の商品やサービスと歩調を合わせることはできません。 <a href=http://kk-aoyama.co.jp/image/gucci5.php>グッチ 激安</a>
2014-01-20 Mon 00:47 | URL | Miltonroms #iobIU.zk[ 内容変更]
<a href="http://www.onurguvenlik.net/">アナスイ アクセサリー</a>
2014-01-18 Sat 14:49 | URL | セイコー メンズ腕時計 ブライツ #EBUSheBA[ 内容変更]
ただ単に接続され、"G"が織り場合静脈はどのようなニットではない、本質的な行は努力を実行して完全に、ある特定の結論は明らかである、将来のニートから内部の天然皮革崩壊したいくつかを確認します。美徳の基礎的検討貧しい技能を偽物します。特別な場所でそれらを残します。それ可能性が高いほうが遠くをあなた自身に正直し、経験する完全な良い、悪いと通常の生活に関連付けられている可能性があります休憩を楽しみます。私たちの内部の知覚は実際です。異なる視点から生物を観察してみてください。話は、愛することをテーブルの上の単一の側に座っている、特別な作業に出てくる違いとして多く (文字通り比喩的にも)。
vivienne westwood バッグ http://www.alivealignedattractive.com/
2014-01-17 Fri 18:44 | URL | vivienne westwood バッグ #EBUSheBA[ 内容変更]
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まず、実行戦略が異なるから生じるトラッキング·エラーが発生しました。 TLTは、バークレイズ20年財務省インデックスのリターンをエミュレートするのポートフォリオを作成するために、ベンチマーク宇宙の代表サンプリングを使用しています。 ファンドは、インデックスの完全なレプリケーションをISNのことから、トラッキングエラーのビットがあるようにバインドされた。 <a href=http://pumpkin.oops.jp/bihaku/gucci1.php>グッチ 財布</a>
新生物を示唆するませ焦点病変がありません。 放射線科医は泌尿器科医によって従うことをお勧めします。 血管研究では、ドップラーで正常です。 <a href=http://www.350zcsl.com/kobun/gucci2.php>グッチ バッグ 人気</a>
私の家族は、そのようなことを行います。 私たちは、部屋の真ん中に贈り物の束を置く。 私たちは、それぞれの人の名を引くと、彼らは現在を選ぶことを得る。 <a href=http://www.cn-cl.com/form/gucci3.php>グッチ 財布 激安</a>
あなたは簡単に運命の日が近づいている時に定期的にユーザーに警告するために、コンピュータやモバイルデバイス上で自動リマインダーを設定することができます。 「運命の日」とは、あなたの記念日ではありませんが、あなたの計画は、一日をキックオフ。 これは、記念日のサプライズの準備を開始した日付です。 <a href=http://shizen-mura.jp/shop/gucci4.php>グッチ 長財布</a>
私は(起動時に、ミシガン州で寒さの中7:30に午前3時から待っていた)私のWiiを持って、私は本当にそれのようにすぐ後に、私はこのバッグを買った。 これは、センサーのバーのための具体的なコンパートメントを持っているし、何の問題もなく付属品のすべてを保持します。 あなたも、「共を絞ることができます家の外にはできますが、いくつかの可能性が高いシナリオをカバーすることができます。 パンクの場合には、汚れた服やおむつを含むように布のウェットバッグやビニールの買い物袋を持参。 あなたはどこか静かなつもりなら、多くのノイズをしないおもちゃを詰める。 <a href=http://kk-aoyama.co.jp/image/gucci5.php>グッチ 新作</a>
2014-01-17 Fri 18:07 | URL | AlfredoKt #8nv0bQDk[ 内容変更]
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それはで高速移動する方が簡単です。 ハ! あなたがこの記事からいくつかの良い情報を得ることを言った。 袋片手に、相互に卵を集める。 <a href=http://pumpkin.oops.jp/bihaku/gucci1.php>グッチ 財布</a>
正直な売り手は彼らの評判を大切にし、彼らは隠すことは何もありませんので、完全にすべての私の質問にお答えします。 私のために彼らはまた、すべての元のダストバッグ、パンフレットや所有者のカードを持っている必要があります。 カード上の数字は絶対的にあまりにもバッグの上の数字と一致する必要があります.. <a href=http://www.350zcsl.com/kobun/gucci2.php>グッチ バッグ 新作</a>
子供たちが自分のおもちゃを拾うために取得するもうひとつの方法は、自宅で洗浄時間を使用することです。 夕方には、近くで描画し、あなたがダウンして食事時間、入浴に知っている、そして本がいくつかの音楽をオンにして家を掃除の家族イベントを行ったとき。 あなたがあなたの家の複数の子を持っている場合は、片付けが必要家の周りの特定の分野に焦点を当て、半分の時間で行わ倍の仕事を得るための方法として、この洗浄時間を使うことができます。 <a href=http://www.cn-cl.com/form/gucci3.php>gucci 財布</a>
私は、料理にいるとき、人々は、「あなたはここにはカメラがありません知っている」、のようなものです。 私はいつも話をし、私がやっているかを説明し、私は非常にそれによよ。 だから私はそのようなことをするのが大好きです。 <a href=http://shizen-mura.jp/shop/gucci4.php>グッチ 長財布 人気</a>
夕方のクラッチバッグは、この秋には、光沢のあるキラキラと手触りが柔らかく、クリーミーである。 さて、後者はラインストーンやスパンコールのような任意の追加の装飾せずに革のものに適用されます。 これらのハンドバッグは、美しく、あなたは彼らが何度も何度も使用することができ、あなたのドレッサーに、これらを保存することになるでしょうので、複数のシーズン続く。 <a href=http://kk-aoyama.co.jp/image/gucci5.php>グッチ バッグ</a>
2014-01-17 Fri 17:04 | URL | AlfredoKt #8nv0bQDk[ 内容変更]
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8。 多目的バスアメニティを詰める。 たとえば、カスティーリャ石鹸(手、体、顔クレンザーさえシャンプー)または併用トナー/アイメイクアップリムーバー(私は非常にCaudaleクレンジングウォーターをお勧めします)のために、二つ以上の使用とバスアメニティを持参するようにしてください。 <a href=http://pumpkin.oops.jp/bihaku/gucci1.php>グッチ 財布 人気</a>
あなたが取ると、問題が「発生するそれが植えられているの際に考慮森林の種類は、ツリーファームが置き換えられます。 多くの場合、適合した生態系を有する高齢林は、多くの場合、高速の針葉樹と針葉樹の成長の木の様々なタイプが含まれているツリーファームに置き換えられます。 ツリーファームは、多くの場合、大きな影響はない動物や一度の非常に異なる木の自然林に依存していた他の植物に良いものを持っている、種の点で特に多様ではありません.. <a href=http://www.350zcsl.com/kobun/gucci2.php>グッチ バッグ 人気</a>
トレイシーの洗練された料理人が(私のスタイルは、小さな子供やsquaddiesの味覚に合ったのに対し)知って、私は空想子羊ローストオフしませんでした。 あまりにも屈辱的。 <OK>を、私はなぜあなたが子羊をDOFていない、と私は魚をやる、と述べた。 <a href=http://www.cn-cl.com/form/gucci3.php>グッチ 財布 激安</a>
私は私の病院の袋を包装する暇がない私の最後の2妊娠は、私はそれは私がそれを行う場合は、出産が来て受け入れなければならないことを意味だと思い誓う! DHはちょうどDSが生まれた後、私は必要なものを私に持って来ることができるので、初めて悪くはなかった。 しかし、私は、代理だった二回目は一時間、家から離れて別の状態にあった。 私は服、ないカメラ、そして死んだ携帯電話がなかった! 病院は素晴らしかったし、私が必要なすべてのアメニティを与えた後、DHは私が去った日に服をもたらした。 <a href=http://shizen-mura.jp/shop/gucci4.php>グッチ 長財布 新作</a>
女性のジムバッグは元気になる外の女性や女性のための優れたアイテムを作る。 オンラインショッピングすることで、現在のデザインを通して垣間見ると一体お好みの色やデザインの中に販売されているものを見ることがあります。 取り出すには多くの種類が、それがうまくヒントの一握りを送信し、彼女はあなたの選択生成を支援するためにいくつかのアイデアをドロップすることができるかどうかを確認することは非常に最高の可能性があります.. <a href=http://kk-aoyama.co.jp/image/gucci5.php>グッチ 新作</a>
2014-01-17 Fri 16:02 | URL | AlfredoKt #8nv0bQDk[ 内容変更]
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感情の多くは、サンディエゴの上日曜日の勝利に注いださらに、ドリューブリーズ 'レコード設定夜プラススーパードームでのショーン·ペイトン、ミッキールーミスとジョーVittの存在を考えると、グリーンベイ·パッカーズに週4の損失に行き、 充電器。 それは確かに季節省の勝利、であるように見えますが、セインツはタンパベイ·バッカニアーズとブロンコスに対して、次の2週間は、イーグルスやアトランタファルコンズをホスト道路上にある。 のは、彼らが予備として持っているどのくらいの感情を見てみましょう··· <a href=http://pumpkin.oops.jp/bihaku/gucci1.php>グッチ 財布 人気</a>
それは財布以外のものを運ぶ人のための収差のような音になります。 最初は、私は、その後週に一度、毎日それをやったが、私は、彼らは通常考えられている意味での「サバイバルキット」ではありませんが、私はw.Thisのために運んでいたものに落ち着きました。 これは「Possibles」です。 <a href=http://www.350zcsl.com/kobun/gucci2.php>グッチ バッグ 新作</a>
あなたのあごのラインを見ることができるならば、あなたの土台は暗すぎる。 できれば、店舗照明の外で、自然光に拠点を試してみてください。 それは色があなたのために右であるかどうかを確認するために最良の指標になります。 <a href=http://www.cn-cl.com/form/gucci3.php>グッチ 財布 激安</a>
中佐トム·ブライアント、フォートで陸軍特殊作戦コマンドのスポークスマンによると。 <a href=http://shizen-mura.jp/shop/gucci4.php>グッチ 長財布 激安</a>
速度のために、直接的な下方圧力と熱を節約するために彼らの調理鍋はまだ緊張しスパッドを押しつぶすシンプルなマッシャーがハンドルを通じて発揮さは非常にうまく動作することができます。 ステンレス製mashersは、これらの日、いくつかは、他のジグザグ曲がった金属の足を穴のあいた基盤を持っている標準装備されています。 時々、北米でのジャガイモマドラーとして知らマッシャーのこの伝統的なスタイルはまた、スウェーデン人、カブ、セロリやパースニップなど、他の調理根菜をマッシュするのに便利です。 <a href=http://kk-aoyama.co.jp/image/gucci5.php>グッチ 財布</a>
2014-01-17 Fri 13:39 | URL | AlfredoKt #8nv0bQDk[ 内容変更]
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レッドウィング ブーツ メンズ http://www.farnoody-zahiri.com/
2014-01-17 Fri 12:21 | URL | レッドウィング ブーツ メンズ #EBUSheBA[ 内容変更]
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ページ自体は再生紙、ならびにカバーで構成されている。 カバーは​​あなたが植えることができる部分である。 それは地上野生の花に植えられると発芽します。 <a href=http://pumpkin.oops.jp/bihaku/gucci1.php?p=20>gucci 財布 販売店</a>
毎年、クリスマスのおもちゃの向上にブラックフライデーに、実行までに多くの宣伝を持っており、最新のホットな贈り物を暗礁に必死悪質な両親の間での戦いの激しい入力を求めなければなりません。 1983年に、キャベツ畑人形は若いアメリカ人の女の子のための欲しい物のリスト、およびブラックフライデーのショッピング母親のための買い物リストの一番上に高かった。 1996年には、くすぐりエルモのおもちゃのためのよく公表需要がアップする価格を押し上げ、ショート用品通路で残忍な戦いにつながった。 <a href=http://www.350zcsl.com/kobun/gucci2.php?p=68>グッチ バッグ 子供</a>
私は一般的に、通常のトートバッグを使用して、別々の袋に私の考えを維持することにより、ポケットの不足を補う。 また、私はいつも一度に、それ以外のすべての私を行くいくつかのプロジェクトを持っているので、青空アルパカ(私はブルースカイのウェブサイトへの直接リンクできません)またはDellaQからこの1からこれらのプリティ甲高い声で言うもののような小さなプロジェクトのバッグを使用するようにしたい 編みトートが占有してしまう。 (および複数の小さなモスリンプロジェクトのバッグを購入することはそうでない、私のバッグの欲望をふけるより私の財政のための健康的である。)。 <a href=http://www.cn-cl.com/form/gucci3.php?p=134>グッチ 財布 安</a>
口唇ヘルペスは顔面病変の種類、カット、肌のかすれ傷、裂傷、またはそれらがあなたの唇に表示される方法に合わせているものは何でもそれらを呼び出すことがフィッティング考えると記載されている。 彼らは、単に唇や口の周りの即時の皮膚にリンクされています。 あなたが発熱水疱の言及を聞く場合、これは口唇ヘルペスや再発性口唇ヘルペスのための医療フレーズを使用される別の参照です.. <a href=http://shizen-mura.jp/shop/gucci4.php?p=45>gucci 長財布 ジャッキー</a>
私はしばらく前に、このいずれかを受信し、それがすべて働いたかを見るために少しのために「一緒に演奏」することを決めた。 それは実際にはかなり知的な詐欺だ(ノー、私は私の銀行や個人的な情報を与えていない)。 彼らは無料のインターネットEメールアドレスを使用していたので、私はそれの正当性を疑問視していただけです.. <a href=http://kk-aoyama.co.jp/image/gucci5.php?p=333>グッチ 財布 メンズ 人気</a>
2014-01-17 Fri 04:17 | URL | StevenOa #VUZ.1jHc[ 内容変更]
<a href="http://www.montecuiue.net">スノーボード 板 2点セット</a>
2014-01-17 Fri 01:22 | URL | クロムハーツ #EBUSheBA[ 内容変更]
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2014-01-16 Thu 14:39 | URL | セイコー ルキア ソーラー #EBUSheBA[ 内容変更]
<a href="http://www.usafetish.com/">コーチ 三つ折財布</a>
Chapitres 1950e terrain de la m茅moire
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2014-01-16 Thu 10:32 | URL | supreme pas cher #EBUSheBA[ 内容変更]
Soon after staking its claim towards the fashion scene in this '90s with sleek, utilitarian handbags, Kate Spade New York has gone on to establish itself like a purveyor of crisp shade, graphic prints, and playful sophistication.
コーチ 財布 新作 2014 http://www.bravadoedc.com/
2014-01-16 Thu 10:23 | URL | コーチ 財布 新作 2014 #EBUSheBA[ 内容変更]
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2014-01-15 Wed 21:09 | URL | ペリカン 万年筆 #EBUSheBA[ 内容変更]
2014-01-15 Wed 19:26 | URL | プラダ ポーチ #EBUSheBA[ 内容変更]
2014-01-15 Wed 18:47 | URL | クロムハーツ ベルト #EBUSheBA[ 内容変更]
But I have begun my story, I don’t know why, in the middle. If it is all to be written, I must begin from the beginning. Well, let us begin at the beginning, though my autobiography won’t be a long one,
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2014-01-15 Wed 17:34 | URL | コーチ 財布 新作 #EBUSheBA[ 内容変更]
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2014-01-15 Wed 10:38 | URL | シャネル 小物 #EBUSheBA[ 内容変更]
“Not if he doesn’t legislate.”
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2014-01-15 Wed 09:59 | URL | コーチ 財布 #EBUSheBA[ 内容変更]
“Good heavens! What a place to go to! And why so far?” Anna Andreyevna could not resist saying.
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2014-01-15 Wed 09:48 | URL | コーチ 長財布 激安 #EBUSheBA[ 内容変更]
“You can have it stoffed,” said the sympathetic Muller anxious to comfort him an any way (by “stoffed” he mean stuffed). “You can have it well stoffed, Fyodor Karlitch Kruger stoffs beautifully; Fyodor Karlitch Kruger is a master at stoffing,” repeated Muller, picking up the stick from the ground and handing it to the old man.
コーチ 福袋 新作 http://www.monsieur-kawano.com/wp-content/coach2014-3.php
2014-01-15 Wed 09:39 | URL | コーチ 福袋 新作 #EBUSheBA[ 内容変更]
“You’d better go, Natasha. You wanted to just now and fetched your hat. Pray, Natasha, pray that God may give you good health,” Anna Andreyevna persuaded her daughter, looking timidly at her, as though she were afraid of her.
コーチ バッグ http://www.dewa-lasante.com/wp-content/coach2014-2.php
2014-01-14 Tue 18:09 | URL | コーチ バッグ #EBUSheBA[ 内容変更]
94.有一位神经病院的医生问患者:如果我把你的一只耳朵割掉.你会怎样? 那位患者回答:那我会听不到. 医生听了:嗯嗯.很正常. 医生又问道:那如果我再把你另一只耳朵也割掉.你会怎样? 那位患者回答:那我会看不到. 医生开始紧张了.怎么会看不到咧.? 患者回答:因为眼镜会掉下来
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