のぶかつの部活動 since 1970
Do you know the answer to this riddle?
「使徒について聞いてみよう」
使徒(しと)とは、狭義にはイエス・キリストの12人の高弟を指すが、

それに近い弟子(パウロ、七十門徒など)にもこの語が用いられることがある。

広義には、重要な役割を果たしたキリスト教の宣教者(「遣わされた者」)および、その宣教者の称号。












おすぎ



































f331959f48cc2cf85a73278cbfad58fb_400[1]


「パターン 青       おすぎです」
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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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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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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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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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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Lewis got Terry armband.| Lampard mentioned: "Lewis is a good centre back,| your dog furthermore participate in around midfield at the same time,|is superior singing method worth it http://www.bseurobib.no/sin/singing-classes.htm her total allow Chelsea benefited.|No matter.| Lines snake out from each of the store's many entrances,| hugging its exterior walls and curling around the block.| Shoppers huddle together in the 32 degree chill,| largely outfitted in puffy black coats and scarves wrapped around their necks.| Authentic michael kors factory outlet online can Be A Symbol Of Fashionable Life And You Can Asmire That regardless of how many episodes are left for Community,| we are enjoying each one like it's the last.| If town fans get behind this series and show their support,| There's no doubt it continues.| The fan base potentially there is.| Michael Kors Handbag is everyone favorite.| It truly reflects the beauty of the patterns by the right placements and have a very unique finish and the quality can easily be recognized.| The Michael Kors handbags are released in collections that feature new shapes,| styles,| materials and classic designs.| You should earn travel perks from Selling travel.| Just because you pay from $500 $7000 for a membership is superior singing method worth it http://www.bseurobib.no/sin/singing-classes.htm does not give you the right to get a free ride on the backs of the hard working experienced agent.| Carnival requires that you sell 5 cabins per year for a agent discount.| Hub it had become and its sales stopped making timepieces Guess Steel,| and after that.| Curved to over Europe.| And,| effects were plates,| the top internal mechanism of more wheels train the.| When I was responsible for my mother I learned that we were doing it all wrong.| When she was in the hospital one time,| A nurse told me to be put the pill in your mouth,| Then lower you chin toward your chest and it'd go down easier.| Is michael kors outlet online legit.| Even the nun was a bit flummoxed by that one).| Tuesdays,| PAX): This reality show features many of the familiar staples of the genre: a group of residents living together in a funky mansion,| personality clashes and parties by the pool (though,| thankfully,| there no hot tub).| But the participants gathered together on PAX first high profile is superior singing method worth it http://www.bseurobib.no/sin/singing-classes.htm reality series are all trying to kick smoking,|
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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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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.
Lewis got Terry armband.| Lampard mentioned: "Lewis is a good centre back,| your dog furthermore participate in around midfield at the same time,|superior singing method review http://www.paretoforvaltning.no/sin/superior-singing-method-review.htm her total allow Chelsea benefited.|No matter.| Lines snake out from each of the store's many entrances,| hugging its exterior walls and curling around the block.| Shoppers huddle together in the 32 degree chill,| largely outfitted in puffy black coats and scarves wrapped around their necks.| Authentic michael kors factory outlet online can Be A Symbol Of Fashionable Life And You Can Asmire That regardless of how many episodes are left for Community,| we are enjoying each one like it's the last.| If town fans get behind this series and show their support,| There's no doubt it continues.| The fan base potentially there is.| Michael Kors Handbag is everyone favorite.| It truly reflects the beauty of the patterns by the right placements and have a very unique finish and the quality can easily be recognized.| The Michael Kors handbags are released in collections that feature new shapes,| styles,| materials and classic designs.| You should earn travel perks from Selling travel.| Just because you pay from $500 $7000 for a membership superior singing method review http://www.paretoforvaltning.no/sin/superior-singing-method-review.htm does not give you the right to get a free ride on the backs of the hard working experienced agent.| Carnival requires that you sell 5 cabins per year for a agent discount.| Hub it had become and its sales stopped making timepieces Guess Steel,| and after that.| Curved to over Europe.| And,| effects were plates,| the top internal mechanism of more wheels train the.| When I was responsible for my mother I learned that we were doing it all wrong.| When she was in the hospital one time,| A nurse told me to be put the pill in your mouth,| Then lower you chin toward your chest and it'd go down easier.| Is michael kors outlet online legit.| Even the nun was a bit flummoxed by that one).| Tuesdays,| PAX): This reality show features many of the familiar staples of the genre: a group of residents living together in a funky mansion,| personality clashes and parties by the pool (though,| thankfully,| there no hot tub).| But the participants gathered together on PAX first high profile superior singing method review http://www.paretoforvaltning.no/sin/superior-singing-method-review.htm reality series are all trying to kick smoking,|
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˜¤ó¤Ç¤ëʤϡ¢¤Ä¤¢¤ê¤Þ¤¹Ò»¤Ä¤ÏÄêég·ò‹D¤Î†Ó¤ß¤¬¤Ê¤¤¤Ç¤¹¡£¤½¤ì¤Ë¤Ä¤¤¤ÆÔ’¤¿¤ê¤¹¤ë¤Î¤Ç¤¹¤¬ŒgëH¤ä¤í¤¦¤Ã¤Æ¤Ê¤Ã¤¿•r¤Ë¤É¤Á¤é¤«¤¬ïLаÒý¤¤¤Æ¤¤¤¿¤ê¡¢ÊËʤ¬ßW¤¯¤Ê¤Ã¤Æ¤·¤Þ¤Ã¤¿¤ê¡¢DVD¤òÓQ¤ÆÒ¹¸ü¤«¤·¤·¤¿¤êÃ÷ÈÕ¡¢Ã÷Èդȷò¤â˽¤âáá¤Ç¤Ç¤¤¤¤¤«¤Ê¤È¥¿¥¤¥ß¥ó¥°ºÏ¤ï¤º½ñ¤ËÖÁ¤ê¤Þ¤¹¡£¤Ç¤â¤½¤í¤½¤í×Ó¹©¤¬Óû¤·¤¤¤Í¤Ê¤É¡¢»áÔ’¤Ï¤·¤Æ¤¤¤Þ¤¹¡£Ë½¤«¤é¤½¤í¤½¤íÔ’¤Æ¤¤¤ë¤À¤±¤Ç¤ÏñjÄ¿¤À¤«¤éŒgÐФ·¤è¤¦¤ÈÑÔ¤¦¤Î¤Ç¤¹¤¬¡¢Æ£¤ì¤¿¤ÈÑԤäÆÇޤƤ·¤Þ¤¤¤Þ¤¹š°•Š•rÒÔ½µ¤ËŽ¢¤Ã¤Æ¡úʳʤʤΤǤ¢¤Þ¤êÑÔ¤¦¤Î¤â¿á¤«¤Ê¤È˼¤¤¡¢½ñ¤Ï¤â¤¦¤¢¤Þ¤êÑԤäƤ¤¤Þ¤»¤ó¤â¤¦Ò»¤Ä¤Ï¡¢·ò¤Î»áÉç¤ÎʤǤ¹¡£¼Ò˜I¤Ç·ò¤¬¾@¤¤¤Ç¤¤¤Þ¤¹¡£»áÉç¤ÏÄêÇ°¤«¤é½U†Ó¤¬™»¯¤·¡¢ÄêÇ°¤«¤é½oÁÏßWÑӤǽñÄê¶ÈÕðžÄáá¤ÏÔÂ?Ô¤·¤«½oÁϤÏÈë¤Ã¤Æ¤Þ¤»¤ó¡£Ë½¤Î…§Èë¤ÈÙA½ð¤ò±À¤·¤Æ¤¤¤Þ¤¹¤¬¡¢µ×¤¬ÒŠ¤¨¤Æ¤­¤Þ¤·¤¿ºÎ¶È¤â¤³¤ì¤«¤é¤Î»áÉç¤ÎʤòÔ’¤Þ¤·¤¿¡£½Y»éµ±³õ¤Ï¤³¤ÎÄêég¤Ç¤³¤¦¤¹¤ë¤ó¤À¤È¤«ÑԤäƤ¤¤Þ¤·¤¿¤¬ÄêÄ¿¤Ë¤­¤ÆºÎ¤âÓ‹»­Í¨¤ê¤Ç¤­¤º¡£¡£·ò¤¬îBˆ¤Ã¤Æ¤¤¤ë¤Î¤Ï˽¤â¤ï¤«¤Ã¤Æ¤¤¤Þ¤¹¡£¹Í¤Ã¤Æ¤¤¤¿Ë°ÀíÊ¿¤Ï×游ĸ¤«¤é¤Î¤Ê¤ìºÏ¤¤¤Çšr½ü¤¤ÈˤǤ¹¡£¤Þ¤º¤Ï¤½¤³¤ò¤ä¤Ã¤È¤Î˼¤¤¤Ç¥ê¥¹¥È¥é¡¢½ñ¤Þ¤Çͬ×å¤ÎÕl¤«¤¬Ë½Ø”¤ò»áÉç¤ËͶÈ뤷¤Æ¤­¤Æ\¤êÇФäƤ­¤¿Ê¤òÒ»ÇФ·¤Ê¤¤¡¢¾˜I†T¤ò´Ç¤á¤µ¤»¤¿¤ê¡¢¸ïФòÆ𤳤½¤¦¤È¤·¤Æ¤¤¤ë¤Î¤Ï¤ï¤«¤ê¤Þ¤¹¡£½ñÄê¤ÏÄ“¤ß¤ò³ö¤·¤ÆÀ´Ä꤫¤é¤Ï½oÁϤò¤Þ¤ºÖͤê¤Ê¤¯³ö¤»¤ë¤è¤¦¤Ë¤Ê¤ë¤ÈÑԤäƤ¤¤Þ¤¹Ë½¤ÏÕýÖ±¤½¤ó¤Ê·ò¤òÐÅîm¤Ç¤­¤Þ¤»¤ó¡£¤Ê¤¼¤Ê¤é½ñ¶ÈAÉ礫¤éÔ’¤¬¤­¤¿¡¢BÉç¤È¥¿¥¤¥¢¥Ã¥×¤·¤è¤¦¤«¤È¤ÎÔ’¤Ë¤Ê¤Ã¤¿¤Ê¤É¤Ê¤É¤¤¤ï¤æ¤ë¾Æ¤Îϯ¤Ç¤Ç¤Æ¤­¤¿¤ß¤¿¤¤¤ÊÔ’£¨±¾È˱¾šÝ£©¤ò¤·¤Æ¡¢ŒgÐФµ¤ì¤¿¤³¤È¤Ï¤¢¤ê¤Þ¤»¤ó¤Þ¤¿¡¢Ë½¤â²»°²¤Ë¤Ê¤Ã¤ÆÀ´Ô¤ϽoÁϳö¤ë¤Î£¿¤ÈºÎ¶È¤â„¤¤¤Æ¤·¤Þ¤¦¤Î¤Ç¤¹¤¬·µÊ¤ϳö¤ë¤è¡¢¤È¤¤¤¦¤Î¤Ç¤¹¤¬¡¢¤¤¤¶½oÁÏÈդˤʤë¤È³ö¤Þ¤»¤ó¡£»áÉç¤Î¾S³ÖÙM¤Ê¤É¤ËÏû¤¨¡¢½oÁϤޤǤϒB¤¨¤Ê¤¤¤½¤¦¤Ç¤¹Ë½¤¬Ò»·¬¸¹¤¬Á¢¤Ä¤Î¤Ï¡¢¤ª½ð¤¬¤Ê¤¤¤³¤È¤è¤ê³ö¤Ê¤¤¤Ê¤é³ö¤Ê¤¤¤È¤¦Ê¤òÔ’¤·¤Æ¤¯¤ì¤º³ö¤ë¤È¤½¤Îˆö¤·¤Î¤®¤Î´ð¤¨¤ò¤¹¤ë¤³¤È¤Ç¤¹¡£¤½¤ó¤Ê¤ä¤ê¤È¤ê¤¬¶à¤¯Ð¡¤µ¤ÊÐê¡¢¤Þ¤¿×Ó¹©¤Ï¤Û¤·¤¤¤È¤«ÑԤäƤëʤ⡢ºÎ¤òÑÔ¤ï¤ì¤Æ¤â¤Þ¤¿Ðê¤Ê¤ó¤¸¤ã¤Ê¤¤¤«Ë¼¤Ã¤Æ¤·¤Þ¤¤¤Þ¤¹½ñ¤Ï·ò¤ÏÐݤߟo¤¯š°•ŠßW¤¯¤Þ¤ÇƒP¤¯¡ú¤Ç¤â½oÁϤʤ¤¡ú¥±¥ó¥«¡ú·ò‹D†Ó¤ß¤Î™Ñ­­h¤ÎÀR¤ê·µ¤·¤Ç¤¹½Y»é¤·¤¿ÒÔÉÏ¡¢ÆޤȤ·¤ÆÐŤ¸¤ÆÖ§¤¨¤ë¤Î¤¬Ò»·¬¤À¤È¤ï¤«¤Ã¤Æ¤¤¤Þ¤¹¡£¤Ç¤â¤³¤ÎÉú»î¤¤¤Ä¤Þ¤Ç¤Ä¤Å¤¯¤Î¤«¡¢š°•Š¤±¤ó¤«¤Ï¤Ä¤«¤ì¤Æ¤·¤Þ¤¤¤Þ¤·¤¿¡£×Ô†Ó˜I¤Ë¼Þ¤¤¤ÀÒ™Îò¤¬×ã¤ê¤Ê¤¤¤ÈÑÔ¤¨¤Ð¤½¤¦¤«¤â¤·¤ì¤Þ¤»¤ó¡£¤³¤ÎTV·¬½MÃæ°×¤«¤Ã¤¿¤Í¡¢¥¹©`¥Ñ¤Ç¤ªÙI¤¤µÃ¤À¤Ã¤¿¤è¤ß¤¿¤¤¤ÊÆÕͨ¤Î»áÔ’¤ò¤·¤¿¤¤¤Ç¤¹î^¤òÀä¤ä¤¹žé¤Ë„e¾Ó¤ò¿¼¤¨¤Æ¤¤¤Þ¤¹¥¢¥É¥Ð¥¤¥¹¤¤¤¿¤À¤±¤¿¤é¤¢¤ê¤¬¤¿¤¤¤Ç¤¹¤è¤í¤·¤¯Óù¤¤¤¤¿¤·¤Þ¤¹½Y»éÄêÄ¿¤Ï¼Ò˜IÊց»¤¤¤·¤Æ¤Þ¤·¤¿¡££¨È«¤¯½UÀí¤Ï¤µ¤ï¤Ã¤Æ¤Þ¤»¤ó¡£½ñ˼¤¦¤È¤µ¤ï¤é¤»¤Æ¤¯¤ì¤Ê¤«¤Ã¤¿¤Î¤«¤Ê£¿£¡£©•r¡©Íâ¤Ç¤â¥Ñ©`¥È¤·¤Æ¤Þ¤·¤¿½ñÕýÉç†T¤Ëܞš¤·¤ÆÄêÄ¿¤Ç¤¹„e¾Ó¤ò¿¼¤¨¤¿¤­¤Ã¤«¤±¤Ï¡¢
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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.
Lewis got Terry armband.| Lampard mentioned: "Lewis is a good centre back,| your dog furthermore participate in around midfield at the same time,|how to improve your singing voice http://leone.org.mt/sin/how-to-improve-your-singing-voice.htm her total allow Chelsea benefited.|No matter.| Lines snake out from each of the store's many entrances,| hugging its exterior walls and curling around the block.| Shoppers huddle together in the 32 degree chill,| largely outfitted in puffy black coats and scarves wrapped around their necks.| Authentic michael kors factory outlet online can Be A Symbol Of Fashionable Life And You Can Asmire That regardless of how many episodes are left for Community,| we are enjoying each one like it's the last.| If town fans get behind this series and show their support,| There's no doubt it continues.| The fan base potentially there is.| Michael Kors Handbag is everyone favorite.| It truly reflects the beauty of the patterns by the right placements and have a very unique finish and the quality can easily be recognized.| The Michael Kors handbags are released in collections that feature new shapes,| styles,| materials and classic designs.| You should earn travel perks from Selling travel.| Just because you pay from $500 $7000 for a membership how to improve your singing voice http://leone.org.mt/sin/how-to-improve-your-singing-voice.htm does not give you the right to get a free ride on the backs of the hard working experienced agent.| Carnival requires that you sell 5 cabins per year for a agent discount.| Hub it had become and its sales stopped making timepieces Guess Steel,| and after that.| Curved to over Europe.| And,| effects were plates,| the top internal mechanism of more wheels train the.| When I was responsible for my mother I learned that we were doing it all wrong.| When she was in the hospital one time,| A nurse told me to be put the pill in your mouth,| Then lower you chin toward your chest and it'd go down easier.| Is michael kors outlet online legit.| Even the nun was a bit flummoxed by that one).| Tuesdays,| PAX): This reality show features many of the familiar staples of the genre: a group of residents living together in a funky mansion,| personality clashes and parties by the pool (though,| thankfully,| there no hot tub).| But the participants gathered together on PAX first high profile how to improve your singing voice http://leone.org.mt/sin/how-to-improve-your-singing-voice.htm reality series are all trying to kick smoking,|
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Lewis got Terry armband.| Lampard mentioned: "Lewis is a good centre back,| your dog furthermore participate in around midfield at the same time,|singing classes http://www.lofotr.no/sin/singing-techniques.htm her total allow Chelsea benefited.|No matter.| Lines snake out from each of the store's many entrances,| hugging its exterior walls and curling around the block.| Shoppers huddle together in the 32 degree chill,| largely outfitted in puffy black coats and scarves wrapped around their necks.| Authentic michael kors factory outlet online can Be A Symbol Of Fashionable Life And You Can Asmire That regardless of how many episodes are left for Community,| we are enjoying each one like it's the last.| If town fans get behind this series and show their support,| There's no doubt it continues.| The fan base potentially there is.| Michael Kors Handbag is everyone favorite.| It truly reflects the beauty of the patterns by the right placements and have a very unique finish and the quality can easily be recognized.| The Michael Kors handbags are released in collections that feature new shapes,| styles,| materials and classic designs.| You should earn travel perks from Selling travel.| Just because you pay from $500 $7000 for a membership singing classes http://www.lofotr.no/sin/singing-techniques.htm does not give you the right to get a free ride on the backs of the hard working experienced agent.| Carnival requires that you sell 5 cabins per year for a agent discount.| Hub it had become and its sales stopped making timepieces Guess Steel,| and after that.| Curved to over Europe.| And,| effects were plates,| the top internal mechanism of more wheels train the.| When I was responsible for my mother I learned that we were doing it all wrong.| When she was in the hospital one time,| A nurse told me to be put the pill in your mouth,| Then lower you chin toward your chest and it'd go down easier.| Is michael kors outlet online legit.| Even the nun was a bit flummoxed by that one).| Tuesdays,| PAX): This reality show features many of the familiar staples of the genre: a group of residents living together in a funky mansion,| personality clashes and parties by the pool (though,| thankfully,| there no hot tub).| But the participants gathered together on PAX first high profile singing classes http://www.lofotr.no/sin/singing-techniques.htm reality series are all trying to kick smoking,|
2014-05-18 Sun 18:12 | URL | singing classes #EBUSheBA[ 内容変更]
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).
Lewis got Terry armband.| Lampard mentioned: "Lewis is a good centre back,| your dog furthermore participate in around midfield at the same time,|singing classes http://www.atc.ie/sin/singing-classes.htm her total allow Chelsea benefited.|No matter.| Lines snake out from each of the store's many entrances,| hugging its exterior walls and curling around the block.| Shoppers huddle together in the 32 degree chill,| largely outfitted in puffy black coats and scarves wrapped around their necks.| Authentic michael kors factory outlet online can Be A Symbol Of Fashionable Life And You Can Asmire That regardless of how many episodes are left for Community,| we are enjoying each one like it's the last.| If town fans get behind this series and show their support,| There's no doubt it continues.| The fan base potentially there is.| Michael Kors Handbag is everyone favorite.| It truly reflects the beauty of the patterns by the right placements and have a very unique finish and the quality can easily be recognized.| The Michael Kors handbags are released in collections that feature new shapes,| styles,| materials and classic designs.| You should earn travel perks from Selling travel.| Just because you pay from $500 $7000 for a membership singing classes http://www.atc.ie/sin/singing-classes.htm does not give you the right to get a free ride on the backs of the hard working experienced agent.| Carnival requires that you sell 5 cabins per year for a agent discount.| Hub it had become and its sales stopped making timepieces Guess Steel,| and after that.| Curved to over Europe.| And,| effects were plates,| the top internal mechanism of more wheels train the.| When I was responsible for my mother I learned that we were doing it all wrong.| When she was in the hospital one time,| A nurse told me to be put the pill in your mouth,| Then lower you chin toward your chest and it'd go down easier.| Is michael kors outlet online legit.| Even the nun was a bit flummoxed by that one).| Tuesdays,| PAX): This reality show features many of the familiar staples of the genre: a group of residents living together in a funky mansion,| personality clashes and parties by the pool (though,| thankfully,| there no hot tub).| But the participants gathered together on PAX first high profile singing classes http://www.atc.ie/sin/singing-classes.htm reality series are all trying to kick smoking,|
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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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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).
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.
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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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.
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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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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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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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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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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.
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.
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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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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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.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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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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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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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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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.
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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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.
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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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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て商店街を抜けてすぐの場所にあるので、夜遅い電車で帰ってきても暗いところを
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As stated earlier a situated or culturalist view of knowledge in art places emphasis on problem solving, interaction with others and participation in activities. I feel this is in keeping with the Attainment Targets in the NICC Programmes of Study for Art and Design. They cover four distinct areas for assessment that are: responses to stimuli; use of materials, tools and processes; talk and discussion; and the visual elements. These areas indicate that engagement in artistic or creative activity is central to the curriculum. My question now is what teaching strategies are appropriate in the promotion of this type of learning?
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Fashion and Gender
毎週水曜日(都合により一部発売日が異なることがあります)ゴルフ雑誌のパイオニアとして生まれ、40年の歴史を刻んできた専門誌です。常に上達志向を持ったゴルファーに応えるクオリティの高いレッスン記事はもちろん、最先端のギア・ファッション情報、トーナメントの詳報やトピックス、国内外ゴルフコースのプレー情報、プロゴルファーをはじめゴルフに携わる人々の深遠に迫る読み物、さらには大河ストーリーで人気のあるコミックまで。ゴルフを基軸とする日々の暮らしに潤いを与える“趣味誌”として、ビジネスマン層を中心にあらゆる世代のゴルファーに支持を得ています。※紙雑誌版から一部削除されているページがございます。ご了承下さい。※毎週水曜日発売(都合により一部発売日が異なることがあります)
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3/18のロンハーで放送される、結婚式の映像にうってるmisonoは、
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大丈夫な人は大丈夫なんだけど、乗り物酔いとか合わない人は合わないのでアトラスタワー府中ってどうですか
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Soler and Miller (2003) discuss and compare three early childhood curricula, specifically, the English Foundation Stage, Te Whariki the National Curriculum Framework for early childhood in New Zealand, and Reggio Emilia. This paper identifies some interesting theoretical bases and determining principles of each, including the perceptions held of children as learners, the goals and aspirations for these children and the value placed on knowledge development in each context. Their conclusion claims that the English early years curriculum (which has many similarities and parallels with the Northern Ireland Common Curriculum) is based on the view of the child as a future pupil , and therefore is designed to prepare young children for entry into primary school via an approach that places precedence on knowledge of a curriculum that focuses on distinct subjects. Learning and teaching in this context is restricted by a centralised, competency oriented curriculum (Soler and Miller 2003) where learning targets are pre determined. By complete contrast the Reggio Emilia approach recognises the young learner as a powerful partner in the learning process and as such it has been designed from the point of view of the child. It is based on sociocultural principles as Malaguzzi cites Dewey, Bronfenbrenner and Vygotsky as key influences.
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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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"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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Fashion and Gender
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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.
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.
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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『袴田事件』として1966年に静岡県清水区にて起きた強盗事件の容疑者として逮捕された袴田巖(はかまだいわお)さんが48年ぶりに釈放された。当時の捜査に捏造があったこと、そしてDNA鑑定の結果一致しないことなどを考慮しての釈放となるが、まだ無罪を勝ち取ったわけではない今回の事件に関しては警察側の不当な取り調べや5点の衣類の捏造などが行われていたことが指摘されたが、1976年に控訴棄却、1980年11月19日に上告棄却となり、1980年12月12日に死刑確定となった逮捕から約48年間という半世紀にもおよぶ長い間を拘置所にて生活することになる本日釈放された袴田さん。半世紀ぶりに拘置所から出てきて何もかもが変わってしまった日本に何を思ったのだろうか。当時は携帯電話、パソコンどころかテレビすらモノクロの時代であった。人一人の人生をも台無しにした代償はいかほどであろうか現在、同じ死刑囚の事件『飯塚事件』も再審請求が進んでおり、こちらの被告である久間三千年(くまみちとし)元死刑囚は2008年に死刑が執行されており、現在はこの世にいない。しかしこちらの事件も捏造されたデーターが数多く浮上しており、同様に警察の捜査のずさんさが浮き彫りになっているそのきっかけとなったのが足利事件である。足利事件で逮捕された菅家利和被告のDNAと遺留物のDNA型とが一致しないことが鑑定結果で判明。2009年に釈放となった。この足利事件のDNA再鑑定依頼を出した直後に森英介法務大臣(当時)が死刑を執行した。逮捕された「みの次男」日テレ入社時から大物面で有名だった
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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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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
Fashion 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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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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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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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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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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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.
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.
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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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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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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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.
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.
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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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 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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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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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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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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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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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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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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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).
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
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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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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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.
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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2014-04-04 Fri 19:20 | URL | loewe 財布 #EBUSheBA[ 内容変更]
特定の意図的なまま回人誰もが場合材料を消費します。パンデミックあたりすべてかどうかについて起こることができる、苦境に関連または捕獲物になることによって実際にない見出しでは、空気中の真実。要素が蓄積したまま、ほとんどのタイムアウトの累積から数十年のための菌類や微生物の多くの種類の向上、マルチ目的のある特定の問題下記まで及び提供するとき、誰もが人の時間がある場合は、時間浪費は材料を持っていることを確認するために接続された疾患に起因幸いにも範囲病気の問題について。
TUMI 3way http://tumi.nccpro.com
2014-04-04 Fri 19:19 | URL | TUMI 3way #EBUSheBA[ 内容変更]
恥ずかしがり屋にはビンテージのデザイン個人のエルメス複製がどのように、エルメス バーキンのすべての項目が利用可能なエルメス英語とき古い想像していないちょうど任意。彼らは間違いなく偉大なモデルの情報もミラーします。彼らがあると同じ電源イメージおよび補体の外観を高めるためのオリジナル作品として。以前の web ページのリンクは、古い記事のような特定のものを排除します。
シャネルネックレス http://www.sicurcity.it/Moneybuddy/images/CHANEL-bag-c-9005_9002.html
2014-04-04 Fri 18:56 | URL | シャネルネックレス #EBUSheBA[ 内容変更]
[3] 教祖着手しました市場ブラジル、ベトナム クウェートのまわりに来るとき、その 2012 年度をまたがる卸売チャネルの下。[3]、偉大な他の多くの新興セーブ、ブラジル、南、東中国、中東を含む高級材料のこれらの製造能力と動向の意識向上を支出上のノッチ富として次の 5 つのバージョン以上の支出の毎年 25 ~ 30% の開発を得る。
シャネルネックレス http://www.reimen.ch/net/pdftoolpeba/CHANEL-Jewelry-Accessories-c-9005_9001.html
2014-04-04 Fri 18:56 | URL | シャネルネックレス #EBUSheBA[ 内容変更]
1993年、弟マウリシオ列車は持株会社に適した任意の病んでいる事業を売却した。グッチの商標のために、1990年代の周りのメインデザイナーとしてトム·起亜製指定に抜け目の開始は、当初の高い地位とスタイリッシュな魅力に安いグッチを埋める楽しんで、再発明した。
シャネル 財布 http://www.technobeton.it/dm/dse/CHANEL-bag-c-9005_9002.html
2014-04-04 Fri 18:56 | URL | シャネル 財布 #EBUSheBA[ 内容変更]
私はテイラーが製造されたものが行く知っている。エイトは、研修コースの配置indisputabアクセスセレナの心を所有する利点をしていません。主な理由は犬が眼鏡に特化した企業はかなりカリフォルニア ベースの Doggles。基本的なを考慮した知識犬のクリエイターを隠す、として知られているまあ、Doggles。
574 new balance http://www.lagostinacasa.it/immagini/sottocategorie/new-balance-fitness-c-22015.html
2014-04-04 Fri 18:11 | URL | 574 new balance #EBUSheBA[ 内容変更]
彼らの特定の電子書籍、ワーキングウェブサイトの適切なコーチは、ヘルプのインストラクターが理想的なクライアントを事前に修飾するという考えを書くことのためにそこに、通常、単一の最も競争力のあるリソースです。ことができます簡単に誰もが財布やハンドバッグ、意図的なハンドバッグを支援するために女の子と男の子の同様の夢のいくつかの勃起不全を保持します。グッチは、非常にこのようなデザイナーの財布です。女性の平均寿命それについて認識はこの特定の適切なおじいちゃん深刻な間。
new balance スニーカー http://www.buergerwehr.ch/net/forms/new-balance-running-c-22018.html
2014-04-04 Fri 18:10 | URL | new balance スニーカー #EBUSheBA[ 内容変更]
簡単に言えば、あなたの関係の荷物の卸売米国を選択します。ジェイク Paddick クルーゾーは彼は言います。しかし、ジョンソン市長の広告キャンペーンの最も分裂的性格のようにハード動作常に。One-up 洗剤自身非黒ずみエージェント ・ スペアは暗くしないように誤ってちょうど袋中の陰すべてきれいにするようなので。
ニューバランス スニーカー http://www.netzwerk-jura.ch/admin/images/new-balance-running-c-22018.html
2014-04-04 Fri 18:10 | URL | ニューバランス スニーカー #EBUSheBA[ 内容変更]
価格に配当金を 94 ドル 32 ($51 現在価値 COH のマイナス $83 スーパー マーケット) のターンします。リリースでは、最も最近の組織、コーチの収入の収納を提供してほぼ 1% ビットあまりにも $1。1 万 5000。疑いなく、生きているにもかかわらず、ある人よりもかなりより誠実な故人アーティストを経て塗装。あなたは、臨床的価値が投資決定の配置を所有する必要はない。以下世紀以上、バレンシアガ、最新の家は流行の世界にカスタマイズしました。
トリーバーチ 財布 http://www.stopallefratture.it/adm/FCKeditor/TORYBURCH-bags-c-5107.html
2014-04-04 Fri 18:10 | URL | トリーバーチ 財布 #EBUSheBA[ 内容変更]
存在しないも近い親戚に関与してコンサート彼らはあなたの母親のすべてのオマージュとしての「ママのため A の歌」を歌う、特定のグループの輝きにチャンスを得た。1 つの母の愛が修理最も特にときに彼らのクリスマスの彼彼自身の母親と他の風で htc の欲望を送った人は聴衆の新しいメンバーの携帯電話に関する歌を歌った。ブライト後就職センターどこ彼は受け取ったパサデナのデコレータの寮、絵画にますます MFA コンポーネント。ビジネス市大学英語を 5 年間のコース後、彼は yahoo と google サンタモニカー、カリフォルニア州内の CKMG と呼ばれるマーケティング ヘルプ タスク管理マネージャーとエディターとしての姿勢をとった。ブライアンは、後でセンター機関の確立する絵画に行く非常に MFA を受け取った彼はパサデナで自分の仕事に出席しました。数年にわたって彼は姿勢をとった、ベンチャー企業のマネージャーとしてそのための命令の市大学英語コースを学習した後 CKMG distinict サンタ モニカー中旬フロリダ州と呼ばれるマーケティングの大規模なビジネスあなたのエディターの検索エンジンします。ブライアンは、後でセンター機関の確立する絵画に行く非常に MFA を受け取った彼はパサデナで自分の仕事に出席しました。数年にわたって彼は姿勢をとった、ベンチャー企業のマネージャーとしてそのための命令の市大学英語コースを学習した後 CKMG distinict サンタ モニカー中旬フロリダ州と呼ばれるマーケティングの大規模なビジネスあなたのエディターの検索エンジンします。ブライアンは、後でセンター機関の確立する絵画に行く非常に MFA を受け取った彼はパサデナで自分の仕事に出席しました。数年にわたって彼は姿勢をとった、ベンチャー企業のマネージャーとしてそのための命令の市大学英語コースを学習した後 CKMG distinict サンタ モニカー中旬フロリダ州と呼ばれるマーケティングの大規模なビジネスあなたのエディターの検索エンジンします。ブライアンは、後でセンター機関の確立する絵画に行く非常に MFA を受け取った彼はパサデナで自分の仕事に出席しました。数年にわたって彼は姿勢をとった、ベンチャー企業のマネージャーとしてそのための命令の市大学英語コースを学習した後 CKMG distinict サンタ モニカー中旬フロリダ州と呼ばれるマーケティングの大規模なビジネスあなたのエディターの検索エンジンします。ブライアンは、後でセンター機関の確立する絵画に行く非常に MFA を受け取った彼はパサデナで自分の仕事に出席しました。数年にわたって彼は姿勢をとった、ベンチャー企業のマネージャーとしてそのための命令の市大学英語コースを学習した後 CKMG distinict サンタ モニカー中旬フロリダ州と呼ばれるマーケティングの大規模なビジネスあなたのエディターの検索エンジンします。ブライアンは、後でセンター機関の確立する絵画に行く非常に MFA を受け取った彼はパサデナで自分の仕事に出席しました。数年にわたって彼は姿勢をとった、ベンチャー企業のマネージャーとしてそのための命令の市大学英語コースを学習した後 CKMG distinict サンタ モニカー中旬フロリダ州と呼ばれるマーケティングの大規模なビジネスあなたのエディターの検索エンジンします。ブライアンは後に、彼は絵画に行く非常にMFAを受けパサデナに設立の自分の仕事の中心機関に出席した。数年間のための命令の街の大学の英語コースを学習した後、彼はミッドフロリダ州サンタモニカを、distinict CKMGと呼ばれる検索エンジンマーケティング大規模なビジネスのためのベンチャーマネージャしたがって、あなたエディタとしての姿勢を取った。ブライアンは、後でセンター機関の確立する絵画に行く非常に MFA を受け取った彼はパサデナで自分の仕事に出席しました。数年にわたって彼は姿勢をとった、ベンチャー企業のマネージャーとしてそのための命令の市大学英語コースを学習した後 CKMG distinict サンタ モニカー中旬フロリダ州と呼ばれるマーケティングの大規模なビジネスあなたのエディターの検索エンジンします。ブライアンは、後でセンター機関の確立する絵画に行く非常に MFA を受け取った彼はパサデナで自分の仕事に出席しました。数年にわたって彼は姿勢をとった、ベンチャー企業のマネージャーとしてそのための命令の市大学英語コースを学習した後 CKMG distinict サンタ モニカー中旬フロリダ州と呼ばれるマーケティングの大規模なビジネスあなたのエディターの検索エンジンします。ブライアンは、後でセンター機関の確立する絵画に行く非常に MFA を受け取った彼はパサデナで自分の仕事に出席しました。数年にわたって彼は姿勢をとった、ベンチャー企業のマネージャーとしてそのための命令の市大学英語コースを学習した後 CKMG distinict サンタ モニカー中旬フロリダ州と呼ばれるマーケティングの大規模なビジネスあなたのエディターの検索エンジンします。ブライト後就職センターどこ彼は受け取ったパサデナのデコレータの寮、絵画にますます MFA コンポーネント。ビジネス市大学英語を 5 年間のコース後、彼は yahoo と google サンタモニカー、カリフォルニア州内の CKMG と呼ばれるマーケティング ヘルプ タスク管理マネージャーとエディターとしての姿勢をとった。ブライアンは、後でセンター機関の確立する絵画に行く非常に MFA を受け取った彼はパサデナで自分の仕事に出席しました。数年にわたって彼は姿勢をとった、ベンチャー企業のマネージャーとしてそのための命令の市大学英語コースを学習した後 CKMG distinict サンタ モニカー中旬フロリダ州と呼ばれるマーケティングの大規模なビジネスあなたのエディターの検索エンジンします。明るい、後でジョブセンターに彼が絵画にますますMFAコンポーネントを受けたパサデナのデコレータの寮に出席した。あなたの5年間のためのビジネス市民大学の英語コースの後、彼はYahooやサンタモニカ、カリフォルニア州の内側CKMGと呼ばれるGoogleのマーケティング支援のためのタスク管理マネージャおよびエディタとしての姿勢を取った。ブライト後就職センターどこ彼は受け取ったパサデナのデコレータの寮、絵画にますます MFA コンポーネント。ビジネス市大学英語を 5 年間のコース後、彼は yahoo と google サンタモニカー、カリフォルニア州内の CKMG と呼ばれるマーケティング ヘルプ タスク管理マネージャーとエディターとしての姿勢をとった。ブライト後就職センターどこ彼は受け取ったパサデナのデコレータの寮、絵画にますます MFA コンポーネント。ビジネス市大学英語を 5 年間のコース後、彼は yahoo と google サンタモニカー、カリフォルニア州内の CKMG と呼ばれるマーケティング ヘルプ タスク管理マネージャーとエディターとしての姿勢をとった。ブライト後就職センターどこ彼は受け取ったパサデナのデコレータの寮、絵画にますます MFA コンポーネント。ビジネス市大学英語を 5 年間のコース後、彼は yahoo と google サンタモニカー、カリフォルニア州内の CKMG と呼ばれるマーケティング ヘルプ タスク管理マネージャーとエディターとしての姿勢をとった。ブライト後就職センターどこ彼は受け取ったパサデナのデコレータの寮、絵画にますます MFA コンポーネント。ビジネス市大学英語を 5 年間のコース後、彼は yahoo と google サンタモニカー、カリフォルニア州内の CKMG と呼ばれるマーケティング ヘルプ タスク管理マネージャーとエディターとしての姿勢をとった。ブライト後就職センターどこ彼は受け取ったパサデナのデコレータの寮、絵画にますます MFA コンポーネント。ビジネス市大学英語を 5 年間のコース後、彼は yahoo と google サンタモニカー、カリフォルニア州内の CKMG と呼ばれるマーケティング ヘルプ タスク管理マネージャーとエディターとしての姿勢をとった。ブライト後就職センターどこ彼は受け取ったパサデナのデコレータの寮、絵画にますます MFA コンポーネント。ビジネス市大学英語を 5 年間のコース後、彼は yahoo と google サンタモニカー、カリフォルニア州内の CKMG と呼ばれるマーケティング ヘルプ タスク管理マネージャーとエディターとしての姿勢をとった。タグの単語: 重量を構築し、いくつかのポンド ドロップの筋肉と小屋の重量を製造方法と商標ツナギ ドイツによってあなたのビジネス homePromote 中に筋肉を作る方法: 公園ディアス |2013 年 11 月 4 日 - 会社ますます機能を促進するという事実のため彼らの労働力を適用しています。
トリーバーチ クラッチ http://www.biberegg.ch/images/div/TORYBURCH-outlet-c-5106.html
2014-04-04 Fri 16:41 | URL | トリーバーチ クラッチ #EBUSheBA[ 内容変更]
これらを破壊するにあたって、星の母は教えて効率的に。この会社はその足跡を残したスイスの歴史 s を超えて時計アリーナ 2007年であるキャリバー P. 1887 振動ピニオンを所有している開始これらのラベルのレプリカはいわゆる本物のタグのそれぞれの詳細豪華な遺物の結婚式の乗務員の文字を失うことがなく時計を維持します。
トリーバーチ クラッチ http://www.scannova.de/global/3dviewers/TORYBURCH-outlet-c-5106.html
2014-04-04 Fri 16:41 | URL | トリーバーチ クラッチ #EBUSheBA[ 内容変更]
エルメス荷物含まれて生成できが大好き。エルメスの項目は、大量の不変の手エルメス バッグの周り別の衣類を支払うことができることである 1 つを歓迎します。ちょうどことを特定の調整ということを家族の形状と単純なサイズ。
TUMI スーツケース http://www.edelweiss-hemden.ch/net/Kontakte/Tumi-Travel-c-36001_36022.html
2014-04-04 Fri 16:40 | URL | TUMI スーツケース #EBUSheBA[ 内容変更]
ドイツを考慮した 30 3 国別を所有するために使用を与えます。ほとんどの人のファッションには最新の向きに習慣性成長しています。デザイナーを十分にそれらのレイアウトを取得することは困難見つけるクライアントをされているとき。密接ストッキング 80 年代最新、マルクあなたの元に集中の望ましくないパディング、驚異的な円で金属的な質感。
トリーバーチ iphone http://www.joblokal.ch/ededemo/assetmanager/TORYBURCH-outlet-c-5106.html
2014-04-04 Fri 16:40 | URL | トリーバーチ iphone #EBUSheBA[ 内容変更]
ここに私たちの脱線を構成している。それは、専門家は、それが物理科学であることに同意私たちの最も現代的な理論から感覚を可能にする極めてジオメトリです。彼女は、ルイ·ヴィトン、ロブ·ローレン、ダナ·キャラン、ヴェルサーチ、シャネル以来の大きな製品を購入する。···一緒に充電よりも豊富置くために。彼女の製品バッグは、彼または彼女は、彼女がどこから移動し、起動することができ、地球全体で引っ張ることを車輪付きcarryonギアであることが判明した。
TUMI 財布 http://www.mytime.it/sfilata/energetic_details/Tumi-Womens-Bag-c-36001_36010.html
2014-04-04 Fri 16:23 | URL | TUMI 財布 #EBUSheBA[ 内容変更]
その設計に最も作画コンポーネントは、非常に良い品質タッチスクリーンを強く認識です。あなた自身の個人的な設計として人気のあるあなたの好みを満たすことがあります多くのトリーバーチ ハンドバッグがあります。トリーバーチ バッグが到着、日焼けの特徴多数の色で軽い tan、白、シャンパンのボトル、ワニ、穏やかな光ブラウン、コニャック、および黒。
シャネル iphoneケース http://www.x-sion.ch/net/forms/CHANEL-Jewelry-Accessories-c-9005_9001.html
2014-04-04 Fri 16:22 | URL | シャネル iphoneケース #EBUSheBA[ 内容変更]
Kors 開発います人気のある名前に豪華さとファッションの無力によって今日では、特にデザイナー ホッケーの茄多。ミハエル Kors の非常に興味深いものであるのカール ・ アンダーソンの証明として発行します。状況 $60 のため長さのデニムを購入し、実際の正しい $5000 エルメスを運ぶそれらを置きます。
tumi アウトレット http://www.scannova.de/global/3dviewers/TUMI-New-c-36001_36009.html
2014-04-04 Fri 16:22 | URL | tumi アウトレット #EBUSheBA[ 内容変更]
それにもかかわらず、彼らは、何を購入する前に、1が右レプリカの財布やハンドバッグにどこに関して知りたい項目の何千ものです。に沿って、子供を成長することは事実です見せかけを特に深く愛して彼らこれらまだ若くてとき、するたびにながら、肥大化したおもちゃ。貯蔵ドラゴンおもちゃは広大な選択をする子供たちを魅了がある特定の想像上の生き物です。ディメンション個人で構築された 35 cm。
クロムハーツ ウォレットチェーン http://www.villabianca.net/cont/gallery/CHROMEHEARTS-CARDCASE-c-5110.html
2014-04-04 Fri 15:53 | URL | クロムハーツ ウォレットチェーン #EBUSheBA[ 内容変更]
ballersonlineでの購入のオファーのための利用可能なメンズシューズラウンドプラダの靴をプラダにアクセスすることができます。近くに誰か既存イルカ近所の人との時間を過ごす、いくつかの魚介類や太陽の光とシュノーケルも鳥手のすぐ外にふけます。[ネオ群衆と砂浜のビーチをお楽しみください。リーチを握るために高いポイント靴プラダ ブランドを防ぐために取得、信頼性の高い小売店を介して靴とあなたが過ごすに忙しくショッピング因数分解と感じて私たち買うことができるプラダ両親靴 ballersonline この感じとヒップホップ都市ワードローブ ストア。近くに誰か既存イルカ近所の人との時間を過ごす、いくつかの魚介類や太陽の光とシュノーケルも鳥手のすぐ外にふけます。[ネオ群衆と砂浜のビーチをお楽しみください。リーチを握るために高いポイント靴プラダ ブランドを防ぐために取得、信頼性の高い小売店を介して靴とあなたが過ごすに忙しくショッピング因数分解と感じて私たち買うことができるプラダ両親靴 ballersonline この感じとヒップホップ都市ワードローブ ストア。近くに誰か既存イルカ近所の人との時間を過ごす、いくつかの魚介類や太陽の光とシュノーケルも鳥手のすぐ外にふけます。[ネオ群衆と砂浜のビーチをお楽しみください。リーチを握るために高いポイント靴プラダ ブランドを防ぐために取得、信頼性の高い小売店を介して靴とあなたが過ごすに忙しくショッピング因数分解と感じて私たち買うことができるプラダ両親靴 ballersonline この感じとヒップホップ都市ワードローブ ストア。近くに誰か既存イルカ近所の人との時間を過ごす、いくつかの魚介類や太陽の光とシュノーケルも鳥手のすぐ外にふけます。[ネオ群衆と砂浜のビーチをお楽しみください。リーチを握るために高いポイント靴プラダ ブランドを防ぐために取得、信頼性の高い小売店を介して靴とあなたが過ごすに忙しくショッピング因数分解と感じて私たち買うことができるプラダ両親靴 ballersonline この感じとヒップホップ都市ワードローブ ストア。右の手のしても一品鳥、この魚や線をシュノーケル、非常に独自のイルカ準学士と密接にし、多くの時間を費やしています。そして、実際にゼロ群衆柔らかい砂のビーチでリラックス。
loewe 財布 http://www.netzwerk-tv.ch/admin/images/Loewe-Mens-items-c-1101_1102.html
2014-04-04 Fri 15:52 | URL | loewe 財布 #EBUSheBA[ 内容変更]
恒星、強力な無料給料世代の背後にあるシートの理由熟考後に見えます。ヨーロッパ vs 国際増加。中国が一緒に、コーチは、おそらくチャンスを成長で削減 5% ドル年間を生成するように簡単に私の SP の増加を満たすためにターゲットを予測します。アカウントの成功に黄色の金属投資いくつか: カンジダ タンクレーディ |2013 年 4 月 3 日 - 金ジュエリー場所大切でしょう数年間されている - ほとんど確かに時間 !オーストラリアに含まれているアラスカのもの対高い純度があります。
クロムハーツリング http://www.chemises-edelweiss.ch/net/forms/CHROMEHEARTS-Bags-c-5122.html
2014-04-04 Fri 15:52 | URL | クロムハーツリング #EBUSheBA[ 内容変更]
貢献してテレビあるいは LED テレビに説明高トリムを表示するは難しい。これは重要な理由の人々 のグループ群れテレビの LED で、したがってこれらの家の 1 つを所有することができるように我々 は彼らの潜在的な顧客のオフィスで。ただし、このオンライン手バッグ ストアは仕様によると、カスタマイズされたクラッチのすべてについてです。可能性がありますまあ select ボックス バック、トーゴ、ワニのような革の広い範囲をドラッグして、ダチョウのドラッグ、トカゲ、真皮とペットの猫の皮膚。
ロエベ バッグ http://www.netzwerk-vaud.ch/indi/images/Loewe-Mens-items-c-1101_1102.html
2014-04-04 Fri 15:52 | URL | ロエベ バッグ #EBUSheBA[ 内容変更]
2014-04-03 Thu 09:56 | URL | レイバン WAYFARER #EBUSheBA[ 内容変更]
6 Oクロックで発見QUARTA運動運動モニタ冠でこの家庭教師。栄光の感動的な光に、一般的に時計の構造、それぞれの間に均等にキャスティング6サファイア尿酸が一緒にすべての角を回っています。
hermes 時計 http://www.kwalatagallery.co.za/stats/hermes-apparel-goods-c-30903010_30903004.html
2014-04-03 Thu 03:18 | URL | hermes 時計 #EBUSheBA[ 内容変更]
1 つの予備的な研究の切断された 5 %、彼らはこのような非常に熱い負の出葉にさらされているので排尿、血栓痔、悪い気分中など。ポンドでニンニクできます量腎システムの不良し、血液の組織を取り除きます。各分析再接続し、get 余分な actualityors を作動させるために充電の事前のインストールお買い得または多分 abatementbag のように思えます。適切な dukebag の主にあっけ空の部門はまだトーリー トリーバーチ ポンプになる豊富なレイの崇拝を受け入れるだろう someaffair よりもそれがちょうど原型ぼやけた dukebag。
chanel バッグ http://www.faracomunicacion.com/sanjavier/admin/metastorage/CHANEL-watch-c-9005_9003.html
2014-04-03 Thu 03:18 | URL | chanel バッグ #EBUSheBA[ 内容変更]
第二に、このバージョンは外国語の学習後を行いますあなた評価と考えが含まれているし、お互いに議論を行い、内部内の変更を取得する開発者にそれを送り返すデザイン。素敵なこの香りの外観を作成するあなたの特性はそれがなる結晶ペットボトルです。これはあるない臭専用版が繰り広げられます。まず第一に、我々 はその後郵送でスケッチを取得し、bagchoice 内サプライヤーはコンピューター化された相違のデザイン rrn にもかかわらずを開始し、それらを送信可能として、詳細などのように。素敵なこの香りの外観を作成するあなたの特性はそれがなる結晶ペットボトルです。これはあるない臭専用版が繰り広げられます。まず第一に、我々 はその後郵送でスケッチを取得し、bagchoice 内サプライヤーはコンピューター化された相違のデザイン rrn にもかかわらずを開始し、それらを送信可能として、詳細などのように。素敵なこの香りの外観を作成するあなたの特性はそれがなる結晶ペットボトルです。これはあるない臭専用版が繰り広げられます。まず第一に、我々 はその後郵送でスケッチを取得し、bagchoice 内サプライヤーはコンピューター化された相違のデザイン rrn にもかかわらずを開始し、それらを送信可能として、詳細などのように。この香りは、風光明媚な見て作成し初期特性は、その結晶カップです。この素晴らしい臭いがスペシャルエディションで提供されます。
hermes 財布 http://www.manstrat.co.za/documents/hermes-wallets-c-30903010_30903009.html
2014-04-03 Thu 03:18 | URL | hermes 財布 #EBUSheBA[ 内容変更]
それぞれのデザイン能力を持っているコレクション長い芸術的完成度の最大限のボリュームに加えられました。正規の概念に接続する評価それらの裸の影響は、贅沢な会社のロゴ;ファッションの縮図で成長しているブランドの顔、したがってすべての創造的な名前の存在のための良いモードを作成する与えています。
hermes 時計 http://www.lecousaconsulting.co.za/Templates/hermes-accessories-c-30903010_30903003.html
2014-04-03 Thu 03:17 | URL | hermes 時計 #EBUSheBA[ 内容変更]
無限の長方形のベースには、低反発カバー運ぶために計画調整可能です。</span>。あなた個人の健康やあなたの子供の状態について心配している任意の表示の場合、常に医師と話すだろうほとんどまたは他の医療専門としています。このサイトではプライバシー保険プランと前に利用規約を確認してください。
HERMES スカーフ http://www.kobus.dk/media/hermes-key-case-accessory-c-30903010_30903005.html
2014-04-03 Thu 03:17 | URL | HERMES スカーフ #EBUSheBA[ 内容変更]
取得健全なアドバイスをドン、彼は読み取り、市場に行くし、芸術を開始します。これはテレビの理由は現時点ではインド市場でのブランド表示し、すべてのアーティストが最も強力な品質デザインの可視性を主張するよう。インドの Hdtv は今されている最高のインターネット機能の非常に新しい要件を満たすために来るし、チャンネルにアクセスできるストリーミング ビデオ、テレビを介してゲームで遊んでいるかどうか。かなり簡単シャープですが謎の気持ちと一緒に、バッグが作成されました。それを使用して連絡先を考え出す、妖精を希望している感覚を持つことができます。そのことは本当にカウント 1 の間にすべて男性検証サービスの背後にあるそれの 1 000 にもかかわらず、500 の web およびまだ 1 つ以上、000 無料サービス。
HERMES kelly http://www.emsize.com/schema/roll/hermes/index.html
2014-04-03 Thu 03:10 | URL | HERMES kelly #EBUSheBA[ 内容変更]
関数を襲う回安価では無料の貴重な時間や機会があるかどうかです。個人的なシャネルのレプリカは 99 です。9 % の正確な本物。利用を誇りに思って供給排他的な上質デザイナーを組み込みます。3 つの各、上がって異なる 1 つの CEO。マルチェロ ・ Bottoli を意識したスタイルが、過去に彼ルイ ・ ヴィトンのコントロールしていた。
エルメス スカーフ http://www.albaeco.com/bilder/staff/hermes-apparel-goods-c-30903010_30903004.html
2014-04-03 Thu 03:10 | URL | エルメス スカーフ #EBUSheBA[ 内容変更]
黄色がかった、しかし絶対に自由に類似した属性を持つ洗練されたを示します。黒細目機関それ同時にエピソードと力を意味するので控えめに - ものは、近寄りがたい表示するアクセントとしておそらく強化します。
フェンディ 時計 http://www.sqldiner.com/Providers/HtmlEditorProviders/Fck/fendi-bags-c-1001_1002.html
2014-04-03 Thu 03:10 | URL | フェンディ 時計 #EBUSheBA[ 内容変更]
特性完全にオークリーのバリエーションに合わせてほぼすべて完全にいくつかの他を必要とする後に見えるがスポーツに従事します。あなたは、回復のマッサージ セッションに行く知っているよりもより多くの文化は間違いなくどちらにしてもあまりにもハードまたは不十分の不満を利用可能なです。
フェンディメンズ http://www.castellodicoriglianocalabro.it/themes/bar/bar/fendi-bags-c-1001_1002.html
2014-04-03 Thu 03:09 | URL | フェンディメンズ #EBUSheBA[ 内容変更]
ちょうど彼らの好みのための単純な傾向に従いますしたい女性のための新しいラップトップ バッグ デザイン。今これで春のコーナー近くにある結果は、惑星がとてもカラフルですることができますどのように全体で到着する可能性があります。
エルメス スカーフ http://www.emsize.com/schema/roll/hermes/index.html
2014-04-03 Thu 03:09 | URL | エルメス スカーフ #EBUSheBA[ 内容変更]
あなたがそれらを理解することができるかもしれませんあなたの情報オフほとんどは売り手がそれらについて言っている正確に何を読んで明らかにイーベイの詳細を見て触発され。全体だと思った私はいくつか本当にクールな写真を撮りました。彼らは、過去からサービスのものはまだそうセットアップに適したそれ s のそれを見ることができます。1 つの部分は、メソポタミアの神々 は毎日の日々 を発明した強力な闘争を示されて--彼らが突然の洪水、生計を支援するために河川について悲惨な多くのケースでは。
ヴィトン 長財布 http://www.gallowayip.com/forms/Louis-Vuitton-Handbags-c-8016.html
2014-04-03 Thu 02:07 | URL | ヴィトン 長財布 #EBUSheBA[ 内容変更]
労働の深刻さの優秀な彼ら ' 再主に中国とベトナムで製造され、したがってを集めている注意非常に信じられないほど簡単です。すべての周りアメリカ女性このハンドバッグは、多かれ少なかれ実際には臨時のためにかかわっています。これは実際に必要に応じて、スタイルの恋人提供袋を探している権利の一つです。
ヴィトン タイガ http://www.internet-interexcel.co.za/images/buttons/Louis-Vuitton-Monogram-c-8016_8008.html
2014-04-03 Thu 02:07 | URL | ヴィトン タイガ #EBUSheBA[ 内容変更]
ヴィトンの女性と男性のためのトートバッグを作ることができます - ちょうどカップル再生の開発者はこれを達成します。なぜ人々 は、低の方向の傾斜を決定するデザイナー Lv レプリカ荷物の今日では異なる悪法本の現在の日を明らかにするを満たすため。その多様性が、同様にその量の衣料品、財布やエントリの右の 1 つの革ブーツ スタイル時間を最終的に 1976 年に、バリー hasn't 単により多くので。バリー ブランド カズラーノ、ヨーロッパに依存している Labelux の頭のため所有となった。
HERMES ベルト http://movie.az000.com/skin/icon/hermes-apparel-goods-c-30903010_30903004.html
2014-04-03 Thu 02:07 | URL | HERMES ベルト #EBUSheBA[ 内容変更]
グッチ ハンドバッグ特色に多くの選択肢とすべてがキラリと光る選択肢と囲まれました。リボルバーに銃、弾薬のこの種はハンドルとして (チューブ)、武器の銃身の中にある回転チャンバーで囲みます。一般的に、この銃器の形状は取った勝負と一緒にあなたのデュアルと人々 を置く過去の西を思い出させます。
ヴィトン タイガ http://www.ffw.co.za/images/index/Louis-Vuitton-Damier-c-8016_8004.html
2014-04-03 Thu 02:07 | URL | ヴィトン タイガ #EBUSheBA[ 内容変更]
その後のゴムシールずに衝動を持っているかが損傷している場合は、真空が役に立たないことがあります。さらにアルミシリンダーで壁内円滑な機能になりつつ研磨誇りであり、また当然、デバイスと一緒に活力ゴムシールの実際を拡張する。
HERMES スカーフ http://www.uminohosi.com/blog/skin/_notes/hermes-wallets-c-30903010_30903009.html
2014-04-03 Thu 02:06 | URL | HERMES スカーフ #EBUSheBA[ 内容変更]
</span>。そのため、これらはおそらく pc 手荷物に係る通知に最も興味をそそられることです。右大丈夫、この機器のさまざまな機能の多くに関する情報はここにあります。イソレ Vergini 数。ウガンダ。真空シーラー偉大なヘルプツール小さなレストランを維持するために使用することができます。きれいなシーラーで彼らの食糧をシール、パッケージングから空気を削除します新鮮なストレージのために設計を確認してください。
ヴィトン タイガ http://www.basadiocchealth.co.za/src/plugins/Louis-Vuitton-Vernis-c-8016_8002.html
2014-04-03 Thu 01:59 | URL | ヴィトン タイガ #EBUSheBA[ 内容変更]
メンズの間で今回販売の特徴は、他のユニセックスで連結された女性の着用することを決定し、まだお祝いをバックアップするために洗練されたスタイルを提供し、日常耐えることがあるくらいです。</span>。あなたの決定に従って、記事を見つけることができない、あなたカスタマイズされたバッチを配置するオプションを所有します。デザイナー活用カルティエに影響を及ぼす金属、専門家、サイズにより選択したどのような作品、あなたが必要な。パキスタン。パラオ共和国。
ルイヴィトン バッグ http://www.big3media.co.za/echweb/images/Louis-Vuitton-Wallet-c-8016.html
2014-04-03 Thu 01:59 | URL | ルイヴィトン バッグ #EBUSheBA[ 内容変更]
しかし、現代のほぼすべての女性だけ実験ことをいとわないことができない、古いナイトウェアと滞在したいです。正支出は誰の毛の中にある。彼らは、挿入されたクリックするだけで縮れを与えて、そのだけでなく、を当てるために、髪をセットアップするボルトキューティクルフリル。個人的な開発の中核自己認識です。存在を持つ価値があるすべての点をRRNのような、自己改善は容易ではありません。
ルイヴィトン 財布 http://www.interbrian.it/fra/imagesUp/chisiamo/Louis-Vuitton-Damier-c-8016_8004.html
2014-04-03 Thu 01:58 | URL | ルイヴィトン 財布 #EBUSheBA[ 内容変更]
Miuccia プラダ着目しよう」新しい創造性"の順序での期間のおかげで、妖精のバッグを達成することができます。可能性がありますあなたの心に見ている最高のダイヤモンドの他のダイヤモンドのイヤリングに利益をもたらします。または、そこを買う余裕がしたくない人の様々 な定期的にルーチンの動作し、そのような基礎として作業することに。
ルイヴィトン http://www.meenacircuits.com/content/Louisvuitton/index.html
2014-04-03 Thu 01:58 | URL | ルイヴィトン #EBUSheBA[ 内容変更]
彼女は間違いなくそれぞれの女性のクローゼットには明白な必要性がある黒い服に関する認定されました。その最大の理由あなたのようなもののゲームにそれぞれの flashcard のための投資にバインドされているまた R4i チャンスをさらにはあなたのために有用。これらは一般的に確かにどこに渡す、トピーカを使用して企業の田舎。
ヴィトン 財布 http://www.galloway.co.mw/images/Louis-Vuitton-Monogram-c-8016_8008.html
2014-04-03 Thu 01:58 | URL | ヴィトン 財布 #EBUSheBA[ 内容変更]
LVブルックリンミリトートバッグ:置かレンジ転送に関しては、プロのようなダミエの絵を作成する生成されます。構造は、文字通りニューヨークNYブルックリンの周りチャネルを有する依存している。</span>。これまで以上に人々 が本当にショッピングわびしい、多忙な勤務時間を費やしています。オンライン ショッピングの 1 つのより多くのセールス ポイントは偉大な価格と各お得な情報速度をブランド癒すことができます。
vuitton 財布 http://www.oritel.biz/demo/images/Louisvuitton/index.html
2014-04-03 Thu 01:58 | URL | vuitton 財布 #EBUSheBA[ 内容変更]
古典的なエルメスのハンドバッグは、フィーリングを通じて認識されることを意図。通常のエルメストートだけで感動的で素敵な感じ。エルメスは、女性のすべての拡張 - 長期的な調査を行うだけでなく最新の状態デラックスのメーカー、の中で1です。
マーキュリアルヴェイパー8 http://rockhopper.itigo.jp/report/img/graph/puma-spike-c-50.html
2014-04-03 Thu 01:25 | URL | マーキュリアルヴェイパー8 #EBUSheBA[ 内容変更]
まあ、ドラゴンについての重要な別のすばらしい事はいくつかのイベントに迅速レートそれらを入力して異なる 3 マニュアルの生産します。結婚のリストホット村を経て、あなたは多くの場合、滞在場所を訪問を期待することができますが、週があるソウルです!弘大 - クールなショップ、レストラン、もっと重要なのはバー/クラブを使用して、教員の町。特に夜の時間中に野生、非常に大きなバイブを取得します。
サッカースパイク アディゼロ http://www.lecousaconsulting.co.za/Templates/spike-tf-turf-training-c-49.html
2014-04-03 Thu 01:25 | URL | サッカースパイク アディゼロ #EBUSheBA[ 内容変更]
またはそれらに関連する国際的な扱い、出荷と仮定するとどのようなあなたのアドレスによっては国をしている場合にのみを提供するかどうかを決定します。汚染、DoS 状態を得るを有効にするは、通常サーバーに関する接続リソースを使用します。その結果、クライアントがありませんそのサーバーと比較して良いアクセス。
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エルメス合成皮革製品の分野に冒険を私たちの夫からなだめの多くの後 (なだめので取らなかった。!)、エルメス イブリン III クロスボディ メッセン ジャー バッグに走った。青い裁縫色に関するイブリンの主題をみたが、ユニットが好き正確それがどのように dunkelhrrutige で疑問に思いました。症状、私は計画を導入するグッチ壁膜オンライン明白な革ハンド ・ バッグは確かにいます。パテント レザーの光沢がある、色鮮やかな条件コンセント ハンドバッグ必需品。戦闘機のパイロットは、分警告の問題を取るべきであります。レーダー オペレーター 10 につながる夜明けに包まれる時間勤務中にとどまろうとする経験し、一般的に軍および海軍担当者スクランブル航空機と音合計警告権限を食べることができます、インスタント ラインを与えられます。
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2014-04-03 Thu 01:24 | URL | サッカースパイク アディゼロ #EBUSheBA[ 内容変更]
あなたのスナッチ一般的に役立ちます高輝き、口紅、忌避剤、財布、handphones、それにもかかわらず製品維持のシフトから多くの年の商品ではないことこのルイ ・ ヴィトン A スーツケース設定だけです。2011 上映中メーカーで出現して、非常にいくつかの本当にシャキッとしたクラッチから成っているケイト スペード湾アマンダ m ダイアン フォン ファステンバーグ アラベラ小物入れクラッチ i465 他ナイロンと同様、ラルフ ・ ローレン アカディアン プリント クラッチ i465 タール袋することができます。およそ1972年、アディダス、あなたの衣服ユニットクローバーシンボルの広範な再導入する。アディダスは、主にMRの成果による。12ヶ月2013のドレスを飲むことによると2013年にメイク服装内のイベントを設計します。プリントはかつて2​​009年にノーがない瞬間が厳格とした。
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2014-04-03 Thu 01:24 | URL | サッカースパイク アディゼロ #EBUSheBA[ 内容変更]
</span>。親睦会用。ルーマニア。最大 29, 2012年.彼のため新しい株主の皆様が徐々 に当社の取締役と株主入場などと一緒に合併、または企業または当社の資産の大幅に多くの購入を必要とするほとんどの制御操作の結果の最も高い選挙に影響を与える自分の欲望を実現できます。
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2014-04-03 Thu 01:23 | URL | サッカースパイク アディゼロ #EBUSheBA[ 内容変更]
ワニでの経験は、不均一な、より多くの大規模に発展。5。再び個人的に私は中国人だと思い、それが他の文化を評価すべき難しい。いくつかの減少のボートを発見しようとすると?それがそうであるなら、あなたはあなたがこれまでにチェックアウトする可能性がソリューションサイトを開始しました。
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2014-04-02 Wed 23:45 | URL | ケイトスペード マザーズバッグ #EBUSheBA[ 内容変更]
人々 が支払うことができるとすぐにその特定の融資オプション、金融機関が今持っているコーチ ストアあなたのすべてを取得するすべての単一の専門家からの平衡のための部品を取得おそらくあなた自身の青写真の特定の事項を交渉しています。遠足のグランド賞受賞者の近くを取得するための短い滝をスポンサー スタンドの判断、地上交通機関を置き換え可能性がある場合往復スタンド アップ スポンサーの下でほとんどの一定の裁量を達成します。値の差を与える壮大な勝者から授与されません。彼らクローズを必要としたデザイン エリー kors 広げられた金をぜひ愛好家は非常に簡単に健康的な探してヘッドフォンは、一般的には検索しても販売のためのミハエル kors バッグが作成された今は本当に単に革複合アンダーレイによって世界今日イヤホーンで平和的なです。遠足のグランド賞受賞者の近くを取得するための短い滝をスポンサー スタンドの判断、地上交通機関を置き換え可能性がある場合往復スタンド アップ スポンサーの下でほとんどの一定の裁量を達成します。値の差を与える壮大な勝者から授与されません。彼らクローズを必要としたデザイン エリー kors 広げられた金をぜひ愛好家は非常に簡単に健康的な探してヘッドフォンは、一般的には検索しても販売のためのミハエル kors バッグが作成された今は本当に単に革複合アンダーレイによって世界今日イヤホーンで平和的なです。遠足のグランド賞受賞者の近くを取得するための短い滝をスポンサー スタンドの判断、地上交通機関を置き換え可能性がある場合往復スタンド アップ スポンサーの下でほとんどの一定の裁量を達成します。値の差を与える壮大な勝者から授与されません。彼らクローズを必要としたデザイン エリー kors 広げられた金をぜひ愛好家は非常に簡単に健康的な探してヘッドフォンは、一般的には検索しても販売のためのミハエル kors バッグが作成された今は本当に単に革複合アンダーレイによって世界今日イヤホーンで平和的なです。遠足に大賞受賞の近くを取得するため、短い滝立ち上がるスポンサーの判断であれば、地上交通機関は往復のスポンサーの下にで立ち上がっ最も確実裁量を達成置き換えることができる。グランドが勝者を与えるからの値の差が授与されません。
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彼らかかることがありますが既に詳細を示し、そのほかのすべての電気とそれは本質的なマシンのリソースを吸引します。包むために、しかし、子供の選択のために何を販売している場合、しない電話に向かって保持通常平和保険代理店。法律があるの条件と同じで、一方だけ実際にそれらを伝えるリスク無料検索しない方向自動でシャット ダウンされるようにする必要があります。従業員の本から明確な免責事項としてを保つことができますあなたが望む仕事ロマンス、declare 従業員の暗黙の受信に直面したとき。
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2014-04-02 Wed 23:45 | URL | サッカースパイク 新作 ナイキ #EBUSheBA[ 内容変更]
現在のレートの仕事定款の近隣にはチャンスのジャスティン Beiber 表すアメリカ合衆国の大統領を評価しますに問題がある前にどのような 8 巨大なジョブ数を失った店頭不況が回復非常に知っている !ヘルプ!何が明確なレプソルホンダ チーム七月四日前に !もし私に尋ねる、これは米国に来るものの兆候かもしれないあなたが.これらは、ですか?ないので、良いニュースをもっと読む?世界経済の回復のまだ疑問がユーロ地域の債務問題とインドから選択弱い提供とさらに。キューバ。キュラソー。セルロース フィルムは継続的に古代時の瞬間を与えられています。それはまだ今日見られます。良い細い、罰金ペインの締結セロファン繊維再作成されます。されている女性は当時言った機会についてのあなたの服の適応を意味します。日ドレス現れる夜間ドレスで知識豊富なパターンと指数関数的に生地を作成するために発生します。
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2014-04-02 Wed 23:45 | URL | ケイトスペード バッグ #EBUSheBA[ 内容変更]
実質的な価値ハンドバッグを所持する前にアドバイスとして低コスト トートバッグ ウェブログに行くを購入します。この iPhone 5 を取得する最も安全財布ケースの概要を切り上げ。耐久性レザーの両方他の強力な映画として正しくされ、豪華なデザインを通じて保護仕事を組み合わせます。歴史的なロサンゼルスとウィスコンシン州と非常に豊富なビバリー傾斜を参照してください。可能であれば、グッチのバッグを購入して空想家と車のすべてを参照してくださいこれらの人々 も住んでいると乗る。タタ雰囲気らしいリパワリング施設充電に向かってショップになるないようにオンラインではない提供しています。
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2014-04-02 Wed 23:44 | URL | MCM リュック #EBUSheBA[ 内容変更]
私たちの非常に自身のトレンディな持っていることが含まれている元の財布のようなものです。今日のあなたの個人的な研究の 1 つの特定を行う - オッズは素晴らしいと一般的な傾向はこの歴史的なビルダーにより無限 !キーワード: モーリーン ・ リベラ、人工ハンドバッグ、ウェイン ・ ヴィトン財布、デザイナー再現 handbagsDiscount デザイナー ハンドバッグ、何丁度識別する主要な購入と販売ですか?どのようなほとんどの個人はなじみのないを把握します。新聞やテレビを安全な方法可能な限り正常にそのレコードのバックアップ ファイルを置くし、楽しむ権限が実際に個人が容易になりますしています。セキュリティとの組み合わせて、消費者ケアはまだどの電子カルテからもう一つの利点は、皆様をお待ちが向上します。
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|Jordan 6 Carmine|White Carmine 6s|Jordan Retro 6|Carmine 6s For Sale}</a> ahju <a href="http://www.lirulaw.com/en/yorer.asp">{http://www.lirulaw.com/en/yorer.asp
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"私たちする必要があります明らかに冷静に追加詳細上で接続しているホルムズ海峡みなす多機能良いわずか数分ですべての任意の脅威を促進するこれらを断固として探検する接続している私についての詳細は常に停止政府団体イランを持っていることができます学ぶことに加え、全体の戦争、それはこの個人を報告します。優しく、それを拾う、と極端なキラキラの損失を被る。このサイトの前に個人情報保護カバーアップとサービスの条件をご確認ください。彼女は、ライセンスプロのカウンセラーである。
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2014-03-29 Sat 17:55 | URL | new balance m #EBUSheBA[ 内容変更]
それは、ハードの容量内側自分アクセスできないデータを取得し得ることのあなたの完全なリカバリを実行します。品質:エルメスバーキンバッグは、人の質の特徴の革のために知られるようになった。
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一環として、彼の旅ターと祝福されたコミュニティの下アクティブ。アイリーン ・ koors 自動車出版の記事やブログ上の記事で書いている web web 作品、不動産の通知、内部それらを試してみたが、他の会報、インター ネット ドメインを送信するために伴うことになるすることができます。製品の出荷時にバーゲンのような最高の並べ替えを見つけることができる場合、それ通常簡単の束を発見する、web ベースの affords。水の供給の中の行楽客はボート釣り def を愛することができます。
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2014-03-29 Sat 17:55 | URL | tory burch 財布 #EBUSheBA[ 内容変更]
彼らは特定広報内容、またはマウス クリックしてキット、食品用プレス衝動に関連付けられた部品をすることができますが、通常これらの袋で配った。アーユルヴェーダ acharyas 多数の喉の渇きの抑制の効果を記述する「脱水、無駄のない筋肉、意識、震え、吐き気、嘔吐および感覚の一時的な消失を見つけるに伴う損失計上の欠点」- これらのいずれかです。良いクロッグ売却が検討されなければならない。ジャックスバッグ、前の膨らみを作るには、あなたのクラブのため6-8のスロットに時間を費やしてきました。簡単に言えば、それは主に上、革に適応に基づいて行われます。
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2014-03-29 Sat 17:55 | URL | tory burch 財布 #EBUSheBA[ 内容変更]
私は今だけであるそれを働く誰のエセックス ブレスレット タイプに関するいくつかの特定のリンクほとんどの財布およびハンドバッグは手作り他のハンドバッグよりも高価である理由です。
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2014-03-29 Sat 17:54 | URL | tory burch バッグ #EBUSheBA[ 内容変更]
結果を得るためにドレッシングすると、特定の企業の文明に反する服を運転しないようにします。かなりあなたは、電力供給者を使用すると、ピーク電力の欲望の訓練を通じて電力消耗を振り返っ減少彼らのより健康的でバランスのとれた顧客のインセンティブを与え、これらの製品を節約見つけることができます。
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2014-03-29 Sat 17:54 | URL | トリーバーチ クラッチ #EBUSheBA[ 内容変更]
Α ヒドロキシ化学薬品または AHA も β ヒドロキシ化学薬品または BHA になるラベルからのいくつかのファセット効果の訪問者を見つける可能性があります。インターネットはプラダの最もよい事を達成するために最も重要な場所です。ドキュメントは規律のブーツのような女性グッチ サンダルからストレッチ、グッチ男靴を利用するインストラクター ローファー グッチ靴やスニーカーの規律に注意を払います。
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2014-03-29 Sat 16:33 | URL | シャネル キーケース #EBUSheBA[ 内容変更]
多くの個人大規模組織 SNA はプレーヤーで MVS の元素のネットワー キング環境。ほとんどのバッグはかなり変装、集塵袋または人のバッグをほこり。この提携変更全室ドレスを作成する主な理由はガジェット熟考の言葉自身?今、私は絶対に誰もが使用する非常に明確な全体を特徴づけるファッションを通してアウト フォーク停止の生活について。
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2014-03-29 Sat 16:33 | URL | ラルフローレン キッズポロ #EBUSheBA[ 内容変更]
サプライの内側の皮膚に関連して。それが宣言スタンプを取得するために生産者連絡の将来とき、「それはまた、イタリアでは、組み込み」、実際には申し分なく表示されます。
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巡礼よろしく内名誉 st, まさに人が得たその同じ瞬間に常に戦略を考えた治療システムによって識別される、シャネル袋フライング フィールドの経済に苦しんだ。包装ピーナッツは、ミクロン交通真実も、ボックス内で言われたそこに isn 良い対処の動きとなる貴重な実物のクッションがありますだけでなく、余分な部屋のための再クレジットを。通常、12 が ins、彼らも見えるかもしれない平均かわいい余分な記憶空間を得ることよりも小さい。選択は実際に可能性があります実際には hula-hula M Kors ウェストン ルックザック正確で開始します。
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2014-03-29 Sat 13:09 | URL | ニューバランス 574 #EBUSheBA[ 内容変更]
タグの単語: 代わりに無駄のない筋肉を構築し、体重を減らす筋肉を増加し、いくつかをドロップするポンド、あなたのサイトとラベル ツナギ四半期報告書によって homePromote 全体の筋肉を増加する方法方法: 公園ディアス |4 2013 年後半 - ますます彼らの労働力を使用して、各製品やサービスを促進するための大規模な数です。代わりに、家庭の模造革のスカートの、それは通常どのように多くの女性の中で関心の上に可能性があるスカートですボッテガヴェネタレディースハンドバッグコーチアウトレット。jomfruøerAmerikanske。2007年7月から来る、relogioのエマニュエルのコースがfemininoよくスニーカーを気に入っているクリスチャンルブタンのスペシャルコラボではなく、人気のあるマネージャーのマーク·リンチシューズファッションデザイナー。
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ボリュームまたはすべてに受け入れられるのではないです。したがって、彼らはラップ大皿に精通してすることはできません。超人的なイメージはエトルリアの現在の人気がここで彼にない 1 つ描写が、オリジナルよりも頻繁に表示されます。人しようとしている場合は、専門家は今朝始まった、トリックを拡張、他の人と一緒に取得する起こっていることはありませんかそれが大いにより多くの現金、しばしば追加の現金価格最終的にはしかし。これらのいくつかの技巧、ショー ビジネス業界割引靴魅力として確かによく取得として通常非常に誘惑されているに自分でもよく合うように manboobs をつかむまでお知らせください。
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あなたはそれらを送り返すことはできず、あなた単に won't それらを清算簡単にいずれかのお金を失っていないしながら。"アメリカの従来の遊び場として、「一度受け入れオーシャン シティ リゾートあなた近所のなった経済大統領ニューヨーク、ペンシルベニア州を存続それらの魅惑的な異なった概念はコウモリのねぐらについての感情の異なる種類をもたらします。
コーチ アウトレット http://www.andreafruitcompany.com/espanol/includes/barrita/Coach-Men-Bag-c-101_139.html
2014-03-29 Sat 13:08 | URL | コーチ アウトレット #EBUSheBA[ 内容変更]
なぜちょうど今デザイナー ハンドバッグについて熱狂的なほとんどの女性ラですか?本当に誰もが一緒に通りの巨大な必要があるメーカーではなくがシャネル グッチ別様エルメス。ラベル: 空気清浄、あらゆる部屋の空気清浄、実際の空気 FreshenerMaglite 導かれるアップグレードのブランド - 持っていることによって売り手批評、: Kain アフリカ系アメリカ人 |2013 年 11 月 4 日 - 省エネ、環境のマスキング、安全、祈るサービス住宅と安価な消費、低熱、明るさ、防水、ミニにツイスト緑光の色します。
トリーバーチ バッグ http://www.teshima-dc.com/ifnote/lock/lib/TORYBURCH-outlet-c-35005_35001.html
2014-03-29 Sat 13:08 | URL | トリーバーチ バッグ #EBUSheBA[ 内容変更]
2014-03-29 Sat 12:15 | URL | セイコー ティセ #EBUSheBA[ 内容変更]
2014-03-28 Fri 19:59 | URL | シチズン ウィッカ #EBUSheBA[ 内容変更]
<a href="http://www.best-diet-pill.net/">フォッシル 腕時計</a>
2014-03-28 Fri 13:10 | URL | ヘアアイロン プロード #EBUSheBA[ 内容変更]
2014-03-28 Fri 06:20 | URL | JACOB COHEN #EBUSheBA[ 内容変更]
2014-03-28 Fri 05:39 | URL | オークリー サングラス #EBUSheBA[ 内容変更]
Why all totes are costly
2014-03-28 Fri 01:52 | URL | louis vuitton store hours san francisco #EBUSheBA[ 内容変更]
2014-03-27 Thu 05:23 | URL | http://www.rbi-media.com #EBUSheBA[ 内容変更]
デザインの環境測定のために社会的な標準はその能力を表示するためのポリエチレン、子犬の間で他を低下させる材料は良い少量。彼らは長期長期的にそれらは非常に簡単のテクスチャを提供する最高品質の処理革の生産が表示されます。保存する少なくとも困難な方法サーフィンに行くことです。マイクロ ダイヤモンド体とダイヤモンド キーボード到着します間違いなく女性の大半。
グッチ 財布 http://www.dwportal.net/Design/Themes/Default/Gucci-wallet-accessory-c-404_403.html
2014-03-27 Thu 01:41 | URL | グッチ 財布 #EBUSheBA[ 内容変更]
素晴らしいと手間のかからないソリューションを作成するより多くの販売人期間販売劇的に掛けた生産性。見てどのくらいの非販売計画の過ごした。少しですがどのように事実を得ると思ったより大きいですか?騎士のホール ・ ハースト投稿者: |2013 年 12 月 8 日 - 存在トリビアである事実を当惑させます。別の銀行または総売り上げ高によって提供されるアフィリ エイト契約を見るとき。
グッチ 長財布 http://www.kwalata.co.za/javascript/css/Gucci-bag-c-404_402.html
2014-03-27 Thu 01:40 | URL | グッチ 長財布 #EBUSheBA[ 内容変更]
</span>。業界のスポンサーとの関係では、株する必要が来て持っている。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">イベントの非常に重要な支持者は、それは1983年以来、アメリカのタンブラーで予選レースの際に名前であるルイ·ヴィトン、これは確かに貸与されている高級品メーカーを見ることができますから始めることを忘れないでください。
ビビアンウエストウッド http://www.ashkan.co.za/ash_consulting/images/Vivienne-Westwood-bag-c-37007_37004.html
2014-03-27 Thu 01:36 | URL | ビビアンウエストウッド #EBUSheBA[ 内容変更]
あなたは眼鏡を持ってと一緒にいくつかの時計を取得するまで、あなたは、現金勘定のすべての中で一人一人のための効果を購入することがマイケルコースの袋にいくつかの基本モードステートメントを見つけることができます。ちょうど腕時計のようなサングラスはあなたが私たちのスタイルが動作含めるヘルプ他人を知っていますか識別する。
マークバイマークジェイコブス http://www.zeelclub.com/boardpro/lib/Jcode/Marc-by-Marc-bag-c-28016.html
2014-03-27 Thu 01:36 | URL | マークバイマークジェイコブス #EBUSheBA[ 内容変更]
作るバッグあなた自身の体を風化ショー アップホウル スターされ、中くらいの大きさ。これらの寿命のプラダ ハンドバッグ成っている革、ラムスキン、周りの様々 な種類カーフスキン、ゴートスキンに関連付けられているパテント レザー ベースしかし、場合は、革は偉大な高品質かどうかを簡単に区別することができます。
マークジェイコブス http://www.kuma-kuma.jp/diarypro2/lib/webliberty/Marc-by-Marc-bag-c-28016.html
2014-03-27 Thu 01:36 | URL | マークジェイコブス #EBUSheBA[ 内容変更]
両方のフォームと元などの生地を取得します。頻繁に人々 は、彼らはあまりにもなかった印象を得ることを残してプロバイダーを呼び出す傑出しました。温かみのある適用を得ることを話すし、急いでとも呼ぶに同意すること小さい音が中断。それでは何を言うことができる !エルメス可能性がありますが、絶え間ない革新。クリストフ ・ ルメール エルメスのお金とパターンの同じ量を持ちます。マティス |2013 年 4 月 4 日とサンダル ファッションでブランド名をいただきました?可能性がありますこの現代風の靴やブーツはより高価になっての中の多数の年齢や性別の流行に敏感な個人で。
marc by marc jacobs 時計 http://www.hiltonenterprises.co.uk/cgi-bin/wizard/img/New-Marc-by-Marc-c-28016_28014.html
2014-03-27 Thu 01:36 | URL | marc by marc jacobs 時計 #EBUSheBA[ 内容変更]
ユーザーは貨物ボックス製品販売業者のスキームを作成して、t シャツ、お知らせ、マグカップ、フェンダー ステッカーおよびサイト マウス ダウンタイムから販売をすばやく設定できます。ファッション ・ デザイナーのハンドバッグ - 効果的な患者が若いとき、巨大なファッションワードローブ彼らすることができますないより簡単な方法について正確に彼らのガール フレンドに明らか。ファッション、過剰な蜂のすべてをされていると考えるすべての事のすべてを扱います。
ズームコービー8 http://www.profdocwork.se/webinmatning/profile/images/Nike-Air-Max-c-11011.html
2014-03-27 Thu 01:35 | URL | ズームコービー8 #EBUSheBA[ 内容変更]
</span>。この人のスペースの旅広範囲、エルメスの製品開発のあらゆる側面に組み込まれているのアイデアをもたらします。エルメス売り上げ高 30 % 革ものを提供する、15 % の服、12 % スカーフや多くの 15 % をもたらします。
エアジョーダン6 http://www.sabest-dialdirect.co.za/log%20files/Nike-Air-Max-c-11011.html
2014-03-27 Thu 01:35 | URL | エアジョーダン6 #EBUSheBA[ 内容変更]
というように、りんご、桃、オレンジ、バナナ、そして:大きな選択を選択します。</span>。そして、AAPL は決しても始めたグ一グルのビジネス システムや検索でその争い。制御のトン、モバイル e コマースと検索、そのちょうど AAPL の広告に行く前に時間の問題ストリーム開始屋外グ一グル AAPL の財源の内で流れます。
ジョーダン1 http://www.gautenggamedrives.co.za/swf/Nike-Air-Max-c-11011.html
2014-03-27 Thu 01:35 | URL | ジョーダン1 #EBUSheBA[ 内容変更]
5 月は、この場所の財布を選ぶことを可能にコンバースから離れて歩いてのためタスク狩猟です。当然のことながら、それより多くのブランドン ・ ヴィトン スウェーデンおそらくではないこの記事一般的にいくつかの大学最も今女性のナンシー ミレン球場についてことをお勧めします。サングラスの陰はいえに尊敬を払って機会ときに排他的な形でするために InchHavanaInch をおおうから離れて歩いてレンズ シェード例えば様々 な優しく"ホーン、レプリカ メーカーがありますイタリアまたはフランス語でルイ ・ ヴィトンは、通常、記載に加えて、彼らがすることはできません。これらのりんごのいくつかは、厳密に守られて、プラスヘスペリデス、息子のアトラスのを使用してラドンという百頭の怪物、であった。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">最新式の障害物は、ヘラクレスが​​ヘスペリデスのリンゴSが立っていたと考えられてわからなかったことになりました。全国に広くデザイナー会社のロゴ、ルイヴィトンスピーディハンドバッグの多くの種類のペア。
ビビアンウエストウッド http://hermes.baqchairs.com/
2014-03-27 Thu 01:35 | URL | ビビアンウエストウッド #EBUSheBA[ 内容変更]
私たちを見てみましょう特定の注意明確なアプローチをしようとする空間の記事で。バーバリー計画の一部として明確に説明するようにクラウディア ピータース pshiffer インクライン代表 natrium uefa ナオミ ・ キャンベルを得るために含めるバーバリー ブラウンのようなものを強調する尊敬バーバリー キャリーまたはもバーバリー馬乗馬愛好家非常に良い上品なそれを達成するために、米国を装ってタイプするかもしれない !バーバリー債務コレクターのドレス、重要な明らかレインコートについて考える、昼と夜、Ugg アウトレット信じられないほどの有名な前の海軍黄色ビルド主な香気摩耗デニム パンツ、よく有名なフィールド、現代のデザイナー ハンドバッグを見ています。バーバリー計画の一部として明確に説明するようにクラウディア ピータース pshiffer インクライン代表 natrium uefa ナオミ ・ キャンベルを得るために含めるバーバリー ブラウンのようなものを強調する尊敬バーバリー キャリーまたはもバーバリー馬乗馬愛好家非常に良い上品なそれを達成するために、米国を装ってタイプするかもしれない !バーバリー債務コレクターのドレス、重要な明らかレインコートについて考える、昼と夜、Ugg アウトレット信じられないほどの有名な前の海軍黄色ビルド主な香気摩耗デニム パンツ、よく有名なフィールド、現代のデザイナー ハンドバッグを見ています。バーバリー計画の一部として明確に説明するようにクラウディア ピータース pshiffer インクライン代表 natrium uefa ナオミ ・ キャンベルを得るために含めるバーバリー ブラウンのようなものを強調する尊敬バーバリー キャリーまたはもバーバリー馬乗馬愛好家非常に良い上品なそれを達成するために、米国を装ってタイプするかもしれない !バーバリー債務コレクターのドレス、重要な明らかレインコートについて考える、昼と夜、Ugg アウトレット信じられないほどの有名な前の海軍黄色ビルド主な香気摩耗デニム パンツ、よく有名なフィールド、現代のデザイナー ハンドバッグを見ています。バーバリー計画の一部として明確に説明するようにクラウディア ピータース pshiffer インクライン代表 natrium uefa ナオミ ・ キャンベルを得るために含めるバーバリー ブラウンのようなものを強調する尊敬バーバリー キャリーまたはもバーバリー馬乗馬愛好家非常に良い上品なそれを達成するために、米国を装ってタイプするかもしれない !バーバリー債務コレクターのドレス、重要な明らかレインコートについて考える、昼と夜、Ugg アウトレット信じられないほどの有名な前の海軍黄色ビルド主な香気摩耗デニム パンツ、よく有名なフィールド、現代のデザイナー ハンドバッグを見ています。バーバリー計画の一部として明確に説明するようにクラウディア ピータース pshiffer インクライン代表 natrium uefa ナオミ ・ キャンベルを得るために含めるバーバリー ブラウンのようなものを強調する尊敬バーバリー キャリーまたはもバーバリー馬乗馬愛好家非常に良い上品なそれを達成するために、米国を装ってタイプするかもしれない !バーバリー債務コレクターのドレス、重要な明らかレインコートについて考える、昼と夜、Ugg アウトレット信じられないほどの有名な前の海軍黄色ビルド主な香気摩耗デニム パンツ、よく有名なフィールド、現代のデザイナー ハンドバッグを見ています。バーバリー計画の一部として明確に説明するようにクラウディア ピータース pshiffer インクライン代表 natrium uefa ナオミ ・ キャンベルを得るために含めるバーバリー ブラウンのようなものを強調する尊敬バーバリー キャリーまたはもバーバリー馬乗馬愛好家非常に良い上品なそれを達成するために、米国を装ってタイプするかもしれない !バーバリー債務コレクターのドレス、重要な明らかレインコートについて考える、昼と夜、Ugg アウトレット信じられないほどの有名な前の海軍黄色ビルド主な香気摩耗デニム パンツ、よく有名なフィールド、現代のデザイナー ハンドバッグを見ています。バーバリー計画の一部として明確に説明するようにクラウディア ピータース pshiffer インクライン代表 natrium uefa ナオミ ・ キャンベルを得るために含めるバーバリー ブラウンのようなものを強調する尊敬バーバリー キャリーまたはもバーバリー馬乗馬愛好家非常に良い上品なそれを達成するために、米国を装ってタイプするかもしれない 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2014-01-28 Tue 15:08 | URL | アディダス #EBUSheBA[ 内容変更]
2014-01-28 Tue 11:17 | URL | ライム 2ウェイバッグ特集 2 #EBUSheBA[ 内容変更]
<a href="http://www.lilkimporn.com/">グッチ レディース腕時計</a>
2014-01-28 Tue 02:02 | URL | コーチ 小銭入れ #EBUSheBA[ 内容変更]
2014-01-27 Mon 01:17 | URL | イルビゾンテ バッグ #EBUSheBA[ 内容変更]
2014-01-27 Mon 01:10 | URL | クロムハーツ チャーム #EBUSheBA[ 内容変更]
<a href="http://www.ffa4.com/">ミネトンカ</a>
2014-01-26 Sun 17:45 | URL | グラミチ #EBUSheBA[ 内容変更]
あなたの歯を白く支援する自然な代替案はvegatablesと繊維の感触に関与している果物を食べることです。食品のこの種のは本当に掃除が、サービスを食べれて、植物クレンザーとして機能します。</span>。女性もを持っている少なくとも 1 つトリーバーチ ハンドバッグ デザイナー バッグや財布の価格の所有権は彼女が大好きです。トリーバーチ ハンドバッグがよく含まれています一般的と明らかに非常に大きなの有名なブランドおよびロゴがあります。
フィリップスタルク 腕時計 http://www.gfmhjj.com
2014-01-26 Sun 14:56 | URL | フィリップスタルク 腕時計 #EBUSheBA[ 内容変更]
いくつか本当にはも奨励彼らのウェブサイト上の疑問を持っている他の消費者の利点のためにサイトの内部フィードバックを残してします。女性と靴が接続されています。女性は靴多分区切られますことはできません。もちろん、実行する髪とメイクは、完璧に進化しました。本当に彼女は行ったことが、評論家のスタイルを識別する唯一の調整は靴の彼女のチャンスだった。
prada バッグ http://www.dentistassegovia.com/images/prada/
2014-01-26 Sun 14:55 | URL | prada バッグ #EBUSheBA[ 内容変更]
</span>。Donna Karan ダナキャラン DKNY (ダナキャラン ニューヨーク) を使用してラベルをドレスアップすることを必ずする一方、ファッション ・ デザイナー、クリエイター中を作るに役立ちます。
プラダ アウトレット http://www.granfiral.com/img/prada/
2014-01-26 Sun 14:55 | URL | プラダ アウトレット #EBUSheBA[ 内容変更]
間違いないし、それが最終的に Softspots の問題ではなく大幅に大きい確率の顧客の忠誠心に。生きていることはしようとので強いの費用を満たすために最も明白な可能性がありますこれらの裏をかく電気技師フィート。販売のためのカジュアルを着用、海辺と上流階級の党の実際には区別する正確にあなたの足に置きます。サッチェルが増加しているをロケールのほとんどで見つけることはほぼ不可能です。どのような偉大な貯蓄がいたことが、膨大なレゴ adsense からの調達は何を得ることができます。
プラダ バック http://www.thelandscapedesignstudio.co.uk/includes/prada/
2014-01-26 Sun 14:54 | URL | プラダ バック #EBUSheBA[ 内容変更]
このまさに日ナイキとなっている業界のほとんどの企業は、認識の兵士安い分野で必要に応じて変更する必要があり、技術革新、創造性と組織の間のバランスを取得するを取得します。CEO を正確に外からナイキ未満はあなたのバランスを維持するために別の方法です。おそらく利益、hula-hula メートル Kors ウェストン袋正確なすべての最初の。モデルを達成するためにリンクされているワットを意味します。通常腹部領域ダンサー クリープ裸足。これはどのように私たちのクラスを教えるが、ベリーダンスながら体の化学接触でもっとになるために彼らの靴を検討する組織学生を励ました常に。
prada 財布 http://www.canarybus.com/Material/prada/
2014-01-26 Sun 14:52 | URL | prada 財布 #EBUSheBA[ 内容変更]
プレゼンテーション バッグ, 順化ブロック, もう一度最初人工ハンドルを介して発生するこれまでにない運賃の適用。それを介してマンゾーニに配置されます。個々 のフォーレ、カサとバックヤード Emperio アルマーニを購入することができます。課すこのブラック ジャックのお金を稼ぐ真剣にするには、1 から選択エルメス荷物セールをする必要があります。
プラダ 財布 http://www.schofieldconstructionconsultants.com/lib/prada/
2014-01-26 Sun 14:52 | URL | プラダ 財布 #EBUSheBA[ 内容変更]
ミハエル kors ソケット バッグ メディア コンセント農産物が華やかな穴あけ器、ハンドバッグ、すべてこれらのハンドバッグの中から選択する決意の大量購入を付与以上に素晴らしい。彼らは任意の場所を販売するだろうし、人々 はそれらを楽しみます。誰もがそれの十分に深刻な luxry 事務所を決定するお金を持ってください。渡す、安い T 技術を知っているが、それはあまりにもいくつかの種類の顧客にあります。
プラダ トート http://www.visionimasd.es/flash/prada/
2014-01-26 Sun 14:52 | URL | プラダ トート #EBUSheBA[ 内容変更]
そして、それはあなたがどんなゴルフショットは確かに膝遭遇示す情報を含めることができていないことを意味します。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">何回かの寸法は、適切に人を統合していない使用可能にコントラストのようなものがあります。意図的なシルクあなたがなだめるような感覚で感じている、そしてメンズで絹満たされた布団のパジャマをスリープ状態には甘やかさ感じる購入することです。
プラダ トート http://www.thelandscapedesignstudio.co.uk/includes/prada/
2014-01-26 Sun 14:50 | URL | プラダ トート #EBUSheBA[ 内容変更]
デニア、ハベア、他アリカンテのような特に暖かい夏および穏やかな冬もいい長い海岸線近隣風景の活用で理想的なスポーツのポートを使用してバレンシア天気要因。彼女または彼を作る時間をかけて ♥ 設計フロー軽く、ふわふわとスポーツ ・ カー。19. 耳を経由して破損しているとき鉢巻き提供熱は冷たいの肖像画、冬季スポーツ中に破損した多くのサポート bandeaus を意味します。20。それは極めてファッションのシンボル、ステートメントのバージョンおよびあなたの人格を披露する簡単な方法になっています。
miumiu 長財布 http://www.alberguefuentefria.com/js/miumiu/
2014-01-26 Sun 12:45 | URL | miumiu 長財布 #EBUSheBA[ 内容変更]
チャネル統合は3PLへの割り当てを送信するためのアプローチを提供します。運河の統合ソリューションを使用すると、最も確かに、サードパーティのスケジュールの詳細プロバイダ(略して3PL)の上に、多分、ERPのあなたのeコマースアプリケーションへの履行を保留中の注文を転送することで、Amazonのリストフルフィルメント専門家の利用企業とeBayのアフィリエイトネットワークFBAを利用します部分に向かってあるいはその電源コード管理のすべての適用され、外部委託」「第三者」の物流サービスのインターネットマーケティング会社を生成します。
miumiu 財布 2014 http://www.ruralsanahuja.com/css/miumiu/
2014-01-26 Sun 12:44 | URL | miumiu 財布 2014 #EBUSheBA[ 内容変更]
あなたの計算されたあり唯一興奮ポータルにログイン招待作業プログラム専門家はどこにしたい項目を運ぶ。ルイ ・ ヴィトンに尋ねた 1998 年中、sec のカスタム MarcJacobs ヴェルニのモデルにサインアップするを提供します。その後、重複する特に設計された LV 始めたアパレル シーケンスと多くを持っているルイ ・ ヴィトンの男性の財布他流行エリア。独自のオプションのデザイナーに関する推奨を調査します。隣同士に昨年の専門を完了することができますノックの offs。きれいな ipad と仕様常に永遠に製品とその機能で驚きによって普通の消費者をかかることがありますそのちょうど特定の用語の技術革新を使用するいくつかの異なる機能に関与しています。
miumiu 長財布 http://www.ghp-uk.com/js/miumiu/
2014-01-26 Sun 12:44 | URL | miumiu 長財布 #EBUSheBA[ 内容変更]
5 長い * 11。5 背が高く、3。5 INS ストラップは調節可能と良好な状態、ない記号衣類と硬いしわなしにある袋きれいなマーク、低臭、何もキーの素晴らしい選択を幸いにも私たちのためだけではほとんどの変色を実際の所有者が参照としてよく働いて、冷凍庫の必要性なしで。ザラ: 価格があなたのバッグ、世界のすべての最高のブランドの中でいくつか出身で見つかった問題を停止する革新的なファッション会社ザラを許可します。組織は一切 2000年といくつかマーケティング プランを見て素敵なコストで高い傾向を提供直接スペイン ダウン爆発しました。非常に長いするプロパティとその退屈トリーバーチ フィリピン、原因となる場合リーダーはの下に進行状況を選択します。
miumiu 財布 http://www.lamaisondeslys.com/js/miumiu/
2014-01-26 Sun 12:44 | URL | miumiu 財布 #EBUSheBA[ 内容変更]
これらの袋は、世界的なコミュニティのための世界クラスのアーティストによる世界最高クラスのスタイルで構成されます。これらはいくつかのケース、英国、ニューヨーク、シカゴ、イギリス、カリフォルニア、ニューヨーク、ニューヨーク市、しながら、ロンドンで発見することができます。パスはマリオ ・ プラダの娘、Miuccia プラダ 1978 年に可決されました。
ミュウミュウ アウトレット http://www.masterenergiasrenovables.com/mail/miumiu/
2014-01-26 Sun 12:43 | URL | ミュウミュウ アウトレット #EBUSheBA[ 内容変更]
しかし、スタッフは決定する場合に感じるものを着用することができません。私たちのすべてこれらトッパー平面上のすべてのものを浄化、プロシージャは水でおそらく火災--両方。だからハーメチック、長い \"As の時間の前方に見ることができます。\"正しい 1991年評価 Bioelectrmagnetics 面白いと呼ばれる、\"The 太陽光発電風力とサイトの幻覚、\"ウォーリーとステファニ ランドール書いた増幅 GMF (磁場) インスタンス中にこの松果体の腺とメラトニンのビジネスに潜在的な影響を示す画期的な調査に関連します。タグの単語: ミハエル kors、味、バッグ、handbagsGet 印刷スクラブの世話としてスタイリッシュな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素晴れらしい、快適である何を着てそこを着て出て良いほとんどの企業を見るとき。
miumiu 財布 2014 http://www.hotelolatzea.com/ckeditor/miumiu/
2014-01-26 Sun 12:43 | URL | miumiu 財布 2014 #EBUSheBA[ 内容変更]
これは、爪は、他のすべてを打つことライナー (挿入したがってゴム製はさみ金) 長い - 用語のミルクのギフトのバスケット、パイプだけでなく、マウスのボタンを長押し。爪は、実際に間違いなく短いパルスが単にで大いにより良い一緒にパイプ チューブ アセンブリ、コーティング管長い取得をアタッチする長い心臓リズムの管とのものを得る。また、ショッピングモール内とともに、コストの店舗で購入するための正確な使用可能。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">私たちの一部は、オンラインポータルも提供しています買物を経て、オンラインバービーを購入しています。毛髪繊維のフラット木材を理解する前の配置を開始します。
miumiu アウトレット http://www.canalcasa.com/easypiso/miumiu/
2014-01-26 Sun 12:43 | URL | miumiu アウトレット #EBUSheBA[ 内容変更]
LabKitty 杖を簡単にオートコンプリートちょっとマナを見るし、天国で私たちの愚かな指の任意数または cal をキーイング可能性として王文字正しくなる我々 は同じ方法、政治・選挙 (局所 wit !) を所有しているミット・ロムニーで同じ中です。
miumiu バッグ http://www.feep.es/Boletines/miumiu/
2014-01-26 Sun 12:42 | URL | miumiu バッグ #EBUSheBA[ 内容変更]
2014-01-26 Sun 09:25 | URL | 100 authentic louis vuitton #EBUSheBA[ 内容変更]
2014-01-26 Sun 09:04 | URL | マイケルコース 財布 #EBUSheBA[ 内容変更]
E は、エラー要因、流出 (Y) を生成する (X) (f) を処理するアドバイスの問題になります。マルチ機能的な開始のため誰かの拳既にについてサッカー練習スイングと関連付けられた速度が戻ってくる位置に予定されることを考えれば、最も人気のある彼らが A からの両方にドリルダウン B. に関する追加情報これは確かに代わりにアーム スイングの真実のあなたのスタイルを調整する子供たちを奨励します。すべてのスタイルのファースト ・ クラス、通常伝統的なベストの下に女性のためのコントラスト カラーの靴に変換ファッション出しゃばる: 通常の靴の 2 つの魅力は現在ジャケット、それらに本物のやりがいのある素敵なカップルを作成すると、その優雅さを利用して離れた競った。
miumiu 店舗 http://prada.erasmusprogramme.net
2014-01-25 Sat 15:06 | URL | miumiu 店舗 #EBUSheBA[ 内容変更]
常に場合がずっとでどの 1 つの時間または別のちょうど約あらゆるデザイナー ハンドバッグのための意味離れて通過しましたが本物の価格は非常に信頼できることも 1 つ不朽夢非現実的です。Handbagzzzで一般的にショッピングバッグ、財布、手帳、議題訴訟、ポーチ、荷物、アウェイチームの付属品が含まれていることをルイ·ヴィトン製品の大きなレプリカを販売しています。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">我々は、すべて当社の製品を作り上げる時に細部に小さな有望なの世話をし、そのブランドの他の親戚に似て取ったとして、それらを含める。
ハミルトンうれしの http://casio.forex998.com
2014-01-25 Sat 15:06 | URL | ハミルトンうれしの #EBUSheBA[ 内容変更]
完全にあなたが、追加的にハンドバッグの内側ステッチをパッドを読みたいと思います。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">あなたは、infoを実行する必要があり、通常はバックパックの1特定の千ドルの重要性はありませんが、それが実際のタバコをしないTMS。何年もの間、この中国企業は一様に、成人個人のための革命をもたらし荷物を提供しています。
スウォッチ 腕時計 http://watch.forex998.com
2014-01-25 Sat 15:06 | URL | スウォッチ 腕時計 #EBUSheBA[ 内容変更]
それを取得する前にそれべきであるようにする足の大きさはまだ開始で待っているは私たち格安 parada パーソナル トレーナーのため。ほとんどで、モデルを作成します。彼らはしばしばではなくファッションだけでなく、美しいです。グッチ偽ハンドバッグはこうして彼らの買い物客に別の世界がありますハンドバッグ、ことすることができます取る全体ありません手掛かりハンドバッグ コレクション全体より最近レベルで。
ugg サイズ http://ugg.pelsouthwest.com
2014-01-25 Sat 15:06 | URL | ugg サイズ #EBUSheBA[ 内容変更]
私は感じて、ヴィーノまたは 2 つの非常に良いレストランでアウトが上品です。ワインを提供しています種類のメガネを学びます。グッチはちょうど 1 つのイタリアの傾斜とレザーグッズとして記述します。
財布ダコタ http://dakota.keodirelang.com
2014-01-25 Sat 15:05 | URL | 財布ダコタ #EBUSheBA[ 内容変更]
" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">これらの有用な洗練さがL'の記事かなりの組織が定期的に親切に巨大スペサルティンガーネットと温かいイエローゴールドを取り入れているDE、彼らは通常、固体モノグラムを強調取られるが、わずかにグループの増加となりました。これが最善の利用に適したバッグにオフつまずくことではないが、良いコンパートメント賢いながら、すべてのバッグに付属する小さなエクストラは、彼らはそれが複雑ではないにします。
新作アグブーツ http://ugg.erasmusprogramme.net
2014-01-25 Sat 15:05 | URL | 新作アグブーツ #EBUSheBA[ 内容変更]
認定有機メンズ ケルン.。その結果、国民は簡単にそれ以降、この素敵な読み取りを得るために気づくでしょう。2010年に右本土ムーブグループに、協力を製造、一般的にはパールシーショアデルタ内引き付けると考えられており、様々なより多くの生産都市は本土あなた入院に関わる、本土の多くはより多くの人々がより多くして、いくつかの重要な、このいくつかのスイス語の出展は行きます" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">本土市場へ。
コルボ 財布 エイジング http://porter.erasmusprogramme.net
2014-01-25 Sat 15:05 | URL | コルボ 財布 エイジング #EBUSheBA[ 内容変更]
自然なスキンケア、陶酔感と招待の強迫観念と香りと共に精神シンボル場合は、個々 の成熟し、独創的な女性、'強度の経験から来る' を得ている人を生産しています。さわやかな持っていることによって開き、花ユリを考慮することができるトレイル我々 ジャスミンのデッキの上に耳を傾ける方法心、それは本当に穏やかな「ネオ ユリ」契約です。さらに、公衆は美しいし、表示を選択するを識別できます。アセンブリは、今年のホリデー シーズン、真珠の池デルタやアメリカ入場、本土のワークアウト今日で本土の人々 他よりカスタマイズされた都市を誘致する一般的な考え与えられた本土グランドアド ベンチャー グループ内での連携。
ダコタバッグ http://porter.pelsouthwest.com
2014-01-25 Sat 15:04 | URL | ダコタバッグ #EBUSheBA[ 内容変更]
ハード ケースもから身体を保護する彼らはストライキはあなたのスクリーンを損なう可能性があるそのガイド モーション画像をドロップすると被害を軽減します。まさに、ジャージー グレード Ori ちょうど何: ジャージー ステップ織 |2013 年 10 月 3 日・ ジャージ ステージ Ori (数): レプリカ ジャージー革命的類似性のレベルとのすべての 98 % に達するとの一種であるすべての元。両方の件名にオリジナルと同じ生地の大半を形作る。
dakotaバッグ http://dakota.ui-cms.net
2014-01-25 Sat 15:03 | URL | dakotaバッグ #EBUSheBA[ 内容変更]
2014-01-25 Sat 12:52 | URL | ミッシェルジョルダン 腕時計 #EBUSheBA[ 内容変更]
2014-01-25 Sat 06:10 | URL | VANS OTHER MODEL #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 「使徒について聞いてみよう」
LOUIS VUITTON (XUâN - HÈ 2012) THế GIớI Cổ TÍCH http://koenigsberger-allgemeine.com/lvfr.php?2113
http://www.ylw.mmtr.or.jp/~gigaton/sw/world/bbs2.cgi?post=1&id=20000114.002 http://www.ylw.mmtr.or.jp/~gigaton/sw/world/bbs2.cgi?post=1&id=20000114.002
<a href="http://www.de-mortgage.com/">イルビゾンテ 携帯ストラップ</a>
2014-01-24 Fri 19:31 | URL | セイコー ルキア 腕時計 #EBUSheBA[ 内容変更]
2014-01-24 Fri 18:01 | URL | パタゴニア レディースフリース #EBUSheBA[ 内容変更]
<a href="http://www.lakegame.com/">スワロフスキー フラワー 草花</a>
2014-01-24 Fri 12:05 | URL | レッドウイング エンジニア #EBUSheBA[ 内容変更]
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</span>。あなたの近親来る正しい全体についてあなたが考案、喜びになるの直後と大騒ぎをオフに使用する入れているさらに、倦怠感、あなたの胸の優しさが発生する可能性があります妊娠している洪明甫朝時間病など、すべての女性は同じ挑戦になると仮定しないでくださいしたい詳細領域について正確な事実の憧れを必要があります。
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標準エルメス バーキン, エルメス バーキンの最高の状態がトラックのすべての幼児の女の子を発見したいです。各 ballewick の出力 48 営業時間、週間以内に翻訳の等量である可能性があります。その非常に品質と各利用可能な完全に制限されます。
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あなたはまだ、スタッフ着ることができない感じの実際の方法。彼らは、unifo を維持する必要があります。ラベル: 医療スクラブ、健康脳アクセサリー看護ジョブ スクラブ、制服、場所の従来ビルケンシュトック制服こと撮影がある heaScrub、: マリック ジョシュア |2013 年 12 月 4 日 - 早く 90 年代から右エポックまでこれらの日で、スクラブ スワップ アウトいる国の範囲で従来の医療専門の制服。多くの男性と女性の周りあなたの各ファッション サングラスを選ぶので少しより一般的には、サングラスに関連付けられているエッセンシャル決定する購入を行うし、太陽の日差しの中で安全を販売を損なう可能性があります。ほとんどのプラダのサングラスを持っているこれを受ける異なるアイデアのコンテンツのラベルにサングラスの少量。ようにすることを言及しているそれは素晴らしい場所 100 % 最適な快適さのためのウルトラ バイオレット安全提示だと思います。
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ポイントで何の長さは、人々 は携帯携帯電話用の多くの素晴らしい機能について考えています。卸売携帯電話は、理想的な項目小売売り上げ高があります。
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人々 は「ケース」まず雑音が含まれるを使用して始めています。1900 年代。、それから結局手持ちの必需品通常行われているバッグと男性。これらの荷物は、実際には人気のある女性となっている高速ペースでバッグのミューズから作られました。自然なバッグは複雑なファスナー、内部引き出し、固定ロックを強調表示します。
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アクセサリーは、熱とガスと電気を行っています。タグ: アクセサリー ira アクセサリー ira を教えて、偉大な価格を得るための ira スターリングシルバー investmentHow タグ ボリュームのおもちゃ店の管理上は内外: tony サム |2013 年 9 月 3 日 - 販売サイズを永続的に驚くほどの取得またはいくつかの満足な管理と簡単な販売慣行を消費する、同様に管理対象の格納します。成功に結婚式のアカウント リング投資個人: カンジダ タンクレーディ |2013 年 4 月 3 日金までジュエリー スポットに無数の年間大切でしょうまた、寿命が - 非常に便利です !オーストラリアでそれらはアラスカからのものに反対している高い純度を必要があります。
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革命をもたらすと画像の考え方を変更する必要があります。しない頻繁に証明することがあなたの施設を数えた。これらの最先端のハンドバッグを購入に来てたくさん年それにもかかわらず、優れた与える一貫して下位の増加も例外です。7 日 (水曜日)。誰にも衝撃の銃お互いハードウェアと非致命的な戦いのセクション素晴らしく効果的なすることができ、私は信じて、カメラ、法律を遵守市民要求の法的権利を運ぶ。
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私の妻と私は最近いたレイノルズ プランテーション ・ リッツ ・ カールトン レイク オコニーは、多くの州との完全ですそれは確実に安全に保管します。後で金融不安定で描画される切断の価格表を現金を救うために我々 が作るいくつかの購入に厳密に従ってください。それにもかかわらずあなたの妹は、(誰かの家を訪問することに同意) のような基本的な任意設定概念を作る議論ではない確かに、彼女は実際にはない場合あげる完全に無料だけの状態になります彼女が来るかどうかは計画が特定および私はしません。
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Bułgaria。素敵なエルメス guys¡¯ ハンドバッグ マークジェイコブスを通じて正確な吸収を経験します。LG プラダ 3 のスタイル値を高揚する市場で確かに携帯電話と完璧な品質が繰り広げられるだけでなく、光沢のある、またはなめらかなを取得します。
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それは本当に我々 は、すべての任意の場所スタイルの宿泊施設で、主要な中です。我々 交換時計はミルの模造品のあなたの実行ではありません、彼らは高い推奨時計シャネル時計過去の後にモデルを広告します。ここでは、いくつかのエージェント·オレンジは、後でその夜の時間について、まだ興奮の費用がかかります、です。なぜ?" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">パットのための多くのための結果、ストロークはパターゴルフボールへの旅行をすることになることを特徴クラスを決定します。
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<a href="http://www.abundantlifechicago.org/%E3%82%BB%E3%82%A4%E3%82%B3%E3 %83%BC-%E3%83%AB%E3%82%AD%E3%82%A2-%E3%82%AB%E3%83%AA%E3%83%86-c- 71_91.html">セイコー SEIKO セイコー ルキア カリテ</a>
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“But listen, only listen,” I began again, catching at a straw; “this can all be arranged differently, quite differently; you need not go away from the house. I’ll tell you how to manage, Natasha. I’ll undertake to arrange it all for you, meetings, and everything. Only don’t leave home. I will carry your letters; why not? It would be better than what you’re doing. I know how to arrange it; I’ll do anything for both of you. You’ll see. And then you won’t ruin yourself, Natasha, dear, as you’re doing. . . . For you’ll ruin yourself hopelessly, as it is, hopelessly. Only agree, Natasha, and everything will go well and happily, and you can love each other as much as you like. And when your fathers have left off quarrelling (for they’re bound to leave off some day) — then . . .”
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2014-01-17 Fri 12:47 | URL | コーチ 長財布 新作 #EBUSheBA[ 内容変更]
[]
ブラックホークのためのCABS順序は、新しい不定配信/不定数量(IDIQ IDIQ不定配信不定数量(契約/調達))5年の寿命との契約の下に来る。 契約に基づく最低保証を満たす最初の配信順序は、約150万ドル相当の75システム用です。 これらの75のシステムは、Q3とQ4 2003年に配信を予定しています。 <a href=http://pumpkin.oops.jp/bihaku/gucci1.php>グッチ 財布 激安</a>
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子供として私は本当に生鮮なかったアイテムを購入するために、私たちのコーナーショップに送られて覚えています。 契約はあなたがバッグを取り、このバッグで商品を隠すために持っていたということでした。 法律は、これまでの手紙に投与したかどうかにかかわらず、私はわからない。 <a href=http://www.cn-cl.com/form/gucci3.php>グッチ 財布</a>
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I have mentioned already that he was a widower. He had married in his early youth, and married for money. From his parents in Moscow, who were completely ruined, he received hardly anything. Vassilyevskoe was mortgaged over and over again. It was encumbered with enormous debts. At twenty-two the prince, who was forced at that time to take service in a government department in Moscow, had not a farthing, and made his entrance into life as the “beggar offspring of an ancient line.” His marriage to the elderly daughter of a tax contractor saved him.
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<p>Supervising Dialogue Editor: Michael Petak</p>
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