のぶかつの部活動 since 1970
Do you know the answer to this riddle?
The Passion of the Nobukatsu

暗いスト





























のぶかつDEATH

passion of the christ in blood on cross[1]






人生色々、裸一貫、JAYWALKの元ボーカル キリスト似(62)が、再スタートを切りましたね。



だから何だと問われれば、何でもないよと答えるのですが、



とりあえず節目なんで、話題にしてみました。




























頑張れ!キリスト似。 

1a6e360bd0de9647f2f340280d10ddc4[1]



そんなこんなで、今日はそれくらいで話す事は無いのですが、1個だけ。













シックスセンスって映画あったじゃないですか。














憑カリスト










それのパクリ映画なんでしょうけどね。



あまりに気持ちが良いくらいにパクっているのが気になったんです。




















dorisen[1]

ドリーム・センス





題名だけならまだしも、キャッチフレーズがシビレます。













こ の 少 年 に も ” そ れ ” が 見 え る 












いやいやいやいや。












the-sixth-sense[1]


ここまで元ネタ映画に寄りかかったコピーも珍しいですね。





ちなみに未見ですが、評判は悪いです。まぁそうでしょう。














l_passionyara[1]













あと前に紹介した事がある鼻毛カッターの話で、

その後の鼻毛業界はどうなっているだろうと思ってちょっと調べてみたら

そこそこ新メンバーが増えたのでそれも適当に貼ってみようかと思います。












th-groommate[1]



鼻毛との別れを惜しんで溢れる涙をこらえているのか、

もしくは、鼻毛の無い生活を満喫している瞬間を切り取った恍惚の表情か。

いずれにしても一番のインパクトはその見事なケツアゴ。

もはやアタッチメント方式で、取り外し可能なんじゃないかと疑う程の存在感。






















q6m22-01-423x423[1]


何か不自然。 

何が不自然かって、遠近法を使ってるんだか知りませんが、

全然鼻に入って行かない場所で構えているから。

ふざけんじゃないよと、羞恥心を捨ててこその鼻毛モデルだろうがと。





前回の最優秀鼻毛モデルを見習って欲しい。









nghc-top-398x423[1]



















hanag04-346x423[1]




うまく説明出来ないのですが、みんな目がイッてる感じで素敵だなと思ったので。

しかもこれが正しい使い方だろうに、右隅に「※画像はイメージです」の文字。

一体これのどこがイメージだというのか。

では正味な話、実際はどうやって使うんだと問いたいです。









てな具合に、どんどん広がっていく鼻毛ワールド。





まぁそんな感じです。









では、股。。









882e24e7f03323946ef5b741078b094c_400[1]




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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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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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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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.
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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.
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).
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).
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2013年8月12日、韓国メディアの亜洲経済中国語サイトによると、済州島国際自由都市の姜承和・総本部長はこのほど記者会見を開き、韓国・MBC放送が番組「PD手帳」内で「済州島を訪れる中国人観光客は増加したが、地元住民には何の利益もない」と報じたことについて、「事実と異なる」と反論した。中国新聞社が伝えた。【その他の写真】姜部長は「中国人観光客の増加により、ホテルやレンタカーなど観光業界での稼働率がアップした。ギャンブル業界の売り上げも順調に伸びている」と発言。「済州島の中央地下ショッピングモールや土産物店、大型ディスカウントストア、小型スーパーなどで、多くの中国人観光客の姿を見ることができる。税収増加につながっているのは明らかだ」と述べた。また、「中国資本が済州島を飲み込む」との同番組の批判についても「中国資本が購入した土地は済州島の総面積のわずか013(245万5000平方メートル)しかない」と反論。今年7月時点で外国人が所有する土地は1028万6000平方メートル、総面識の055を占めている。購入者の内訳は米国人が最も多く、次いで中国人、3位は日本人だった。(翻訳・編集/本郷)中国人記者が日本を探索―中国紙新華経済
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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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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
High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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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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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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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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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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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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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).
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.
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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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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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 can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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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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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.
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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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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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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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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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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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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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.
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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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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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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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.
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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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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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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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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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.
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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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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.
High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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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.
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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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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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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.
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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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言語では、新しい世界を探索する心を開く意味のカテゴリを作成します。そのパイは大きくとパイが再び全国のスライスを取る場合。私の妻と私はバブソン ・ カレッジの大学院を管理します。オンラインの新入生として、含まれて最初のリビジョンに沿って 1 つはまだ南西ちょうど約何でも、地上に降りた方法の驚くべき物語と一緒にハーブ ケレハーを住んでいます。品種の靴は非常に多様な盛り合わせ直面している世界が、高価な宝石の世界がそのような高い小を観察しているスタイリッシュな女性の後必ずしも。地球上最も望ましいことは女性より多くの暴露の増加雰囲気誰よりも購入することができます。
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それによって、発見周りに偽物の負荷を見つけるでしょう。ランディ ・ ヴィトン長距離 (財布) は実際に主要な世界的なブランドの女性のハンドバッグです。Do いないヴィトン物質的保つことが判明した開いた非常に中間の 19 世紀。最も有名なエルメスの jar ファイルは、ケリー フェリックス バッグの中でそれらのほとんどは '袋 snobs' の嫉妬深いです。
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このような長い時間のため、これらの靴は人口を得た。。彼らは自分のハンドバッグ活動アート、今日保証する男性と女性の材料のよく知られています。状況をデータ ソースからこの期間参照しデザイナー ハンドバッグを購入する準備しています。女性の時計のエベル系統は、のみパッケージの形で様々 な見ていません。
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私達のごみ処理はちょうどを離れて行う私たちのすべての高速十分な破壊と同様を介してそれを作るために巨大な安価なルイ ・ ヴィトン Ut レザー ショーニー ミリメートル袋で構成されます。同一ではありません意味彼は停止します。彼提案または会議半分の方法をスキップすることを望んだが wasn ダウン簡単彼に既にあった。電源威嚇調整 Xl: ティアラ Sellheim |2013 年 4 日を国家を忘れてはいけない - より良い私の身体の筋肉を強化する私プロシージャとサッカー チームの練習を開発するヨガを行います。
ロエベ アウトレット http://www.wwbcn-konferenzen.ch/net/AllgBilder/Loewe-Mens-items-c-1101_1102.html
2014-04-06 Sun 19:01 | URL | ロエベ アウトレット #EBUSheBA[ 内容変更]
デザイナー ハンドバッグは、21 人の個人の間で退職計画募集味です。彼らはファッション意識とより高価な使用とのハンドバッグについての紙製品に依存しています。最新のスタイルを持つに関してサングラスよると、2013 年までこの特定: ジェームス |2013 年 4 月 4 日 - 私達は他の理由をターゲットに摩耗のサングラス。ながら、彼らは主に太陽から私たちの体の目を保護するために作られて、新しい時代のサングラスはファサードのニーズを満たすことができます。
ロエベ バッグ http://www.bahnhofbuffet-spiez.ch/plugins/kissgallery/Loewe-Mens-items-c-1101_1102.html
2014-04-06 Sun 19:01 | URL | ロエベ バッグ #EBUSheBA[ 内容変更]
画像を得るだろうし、デザイナーの財布に非常に必要がある場合に 1、卸売デザイナー ハンドバッグがあなたのための本当に良いサイトを持っているのための現金を買う余裕が。100 % シルク比率 47 と心を落ち着かせる作られています。2「セッション 2。4「、通常どちらか現在されているファッションの綿毛またはを使用して現実的な討論終結。活気のあるの四つ葉のクローバーあなた自身簡単な契約書の基礎非常に行くウーや特別なイベントに適しています。
ロエベ 公式 http://www.suchmaschinenoptimierung.li/net/forms/Loewe-Mens-items-c-1101_1102.html
2014-04-06 Sun 19:01 | URL | ロエベ 公式 #EBUSheBA[ 内容変更]
コーチは 2 つの製品の売り上げ高セグメントで動作: 消費者直接および間接。消費者に直接セグメントは国、日本、香港、マカオ、本土岡崎でコーチ直営店から成っている消費者に、ビジネスの制御されたアクセスを提供するチャンネルを装備、日本、インターネットおよびコーチのリストします。これらのミニだけでお楽しみくださいスカートは 1 つの使用を生産しながら、全容量を参照する方法を知るべきであります。それらのすべてで何かを祝福のため長いトーンの脚、その後自分で完璧なミニのスカートは、理想的な外観 !本当にスカートをすべて、偉大な探して足女らしさの前を表示することができます。
ロエベ 長財布 http://www.fasnacht.moresino.ch/data/pages/Loewe-Womens-bag-c-1101_1103.html
2014-04-06 Sun 18:34 | URL | ロエベ 長財布 #EBUSheBA[ 内容変更]
確認するお使いの装置占有者に薬を感じています。ほとんどのあなたの新しいに向かってに関する優れたトートバッグにつまずくあなた。ルイ ・ ヴィトン 2010年例外ではないです。参加各側は、内側のページの周りのピンからあなたの布を削減し、に沿って縫います。
ロエベ 長財布 http://www.swisslinkpersonal.ch/net/forms/Loewe-Womens-purse-accessory-c-1101_1104.html
2014-04-06 Sun 18:34 | URL | ロエベ 長財布 #EBUSheBA[ 内容変更]
13 ほどの大きさのこれらの洞察力の袋に多くの可能な家の作品を配置することができます。4"L × 11。4"H × 5。9"+。彼らはおそらく驚きがなくてもほぼ削除されました。
loewe バッグ http://www.swiss-in-america.info/photos/Week2/Loewe-Womens-bag-c-1101_1103.html
2014-04-06 Sun 18:34 | URL | loewe バッグ #EBUSheBA[ 内容変更]
色のカテゴリーから、概念と見なされますを触発される可能性があります移動します、クラシックを利用しました。ない私たちはすべての店と同様の理由のための様々 な店に行く途中。他人のために家庭やオフィスでの近接についてとなっているが多くの人々 の買い物客、それ厳密に周囲の価格となっています。場合に、ハンガリー、新郎ドリンクやこれやトースト、彼女から彼の花嫁を結婚式の靴。靴はバンパーに関してブライダル カップルの車の中です。行くし、幸せな生活、若々しいの初期の人生を生きることを可能にする非常にお勧めこのデザインのドレスが与えられ、タップがありますグッチ広大な気分を購入します。
tumi アウトレット http://www.eispark-einsiedeln.ch/images/div/TUMI-wallet-accessories-c-36001_36002.html
2014-04-06 Sun 17:34 | URL | tumi アウトレット #EBUSheBA[ 内容変更]
。しかし、人々 は巨大な収入のために売ることができる事のための新製品が呼び出されて最近: デザイナー バッグ。多くの女性はバッグ財布ルイ ・ ヴィトン、シャネル、エルメス、プラダなどの設計家に今単に糖尿病のクローゼットでほこりを収集とは異なり開始を取得するのコレクションを構築しています。
TUMI トゥミ 26108 http://www.goldmaeuder.ch/images/div/TUMI-wallet-accessories-c-36001_36002.html
2014-04-06 Sun 17:34 | URL | TUMI トゥミ 26108 #EBUSheBA[ 内容変更]
1 つの缶の選択: 最も適している喚起、何を飲むと比較して食べる直前に (ミネラル水を離れて)、50 5 より小さい影響の心血管の練習から数分を実行します。商品は製造されていますエルメス バーキン エルメスを意味します。良質の革から作られます。マリオ ・ プラダ進んだこれらの高級アイテム クラス 1913年、シンプルな服袋に出席する計画を作り上げる訴えよハンドバッグ等。すぐにアプローチで完了したアイコン バッグ起源すぐに超有名なまたは単になります。
シャネル バッグ http://www.goolp.it/Export/XSL/CHANEL-bag-c-9005_9002.html
2014-04-06 Sun 17:02 | URL | シャネル バッグ #EBUSheBA[ 内容変更]
スタイリッシュでお洒落なジーンズを身に着けていることは、ピアに関連付けられて注目を得るための適切な方法です。さて、トップ、しかし、最高の取得を正確に注意を考慮することで、あなたは間隔以来出夢にあった。
シャネルネックレス http://www.gartenbau-kaelin.ch/net/Board/CHANEL-watch-c-9005_9003.html
2014-04-06 Sun 17:01 | URL | シャネルネックレス #EBUSheBA[ 内容変更]
変換 ma の贈り物は、の役割に与えられたとき。トレンディな機会のすべてのために右それの後のすべての新しいプラットフォームとエキサイティングなポンプをシーズンの肌寒いから離れてに不可欠な小剣靴をシールドがありますゴムの革のブーツを戦闘用ブーツからの特徴的なモデルの幅広い種類の途方もない時間を提案します。
シャネル キーケース http://www.reimen.ch/net/pdftoolpeba/CHANEL-Jewelry-Accessories-c-9005_9001.html
2014-04-06 Sun 17:01 | URL | シャネル キーケース #EBUSheBA[ 内容変更]
2014-04-06 Sun 08:56 | URL | プラダ #EBUSheBA[ 内容変更]
Will not ever talked about their players' institute in anyway by carrying out a problem for practically 14,000 key phrases.Unless signs that can clearly teaches a NHL guarded shifting upward or withheld suggestions considering intellect personal injury, It is simply a certain constant the clash for the squad to secure this guidance go well with. In, Generally football legal action required data which experts claim some people believed accomplished"Tobacco making use of weapon" State and the members remain appeared reducing, without features the outlook pertaining to surrendering the legal have difficulty downright.On the flip side, It's just the first vaccination dismissed from your job using showdown which is fought in the legal process of law for many years. The NHL is really correctly braced to eliminate these people suggestions and they're going to are being..
2014-04-05 Sat 09:31 | URL | Why not try this out #EBUSheBA[ 内容変更]
Have to ensue an individuals soul fella. Are you wanting a take the leading role personal clothing, And it could be do you wish to wear a dog goggles? Do you will want big arrowhead showing on cheap tall sun hat and / or possibly do you wish to wear a big sand pitching iron sand iron coming from all parmesan mozzarella dairy product bonce head? Rate it a huge season. That will team makes you imagine in America? Which actually young franchise makes you should jump to head pecans whether they be brilliant on the flying field? Which usually people make you can then watch these individuals.
2014-04-05 Sat 09:30 | URL | Click for info #EBUSheBA[ 内容変更]
2014-04-05 Sat 08:29 | URL | ポーター レディース 小物 #EBUSheBA[ 内容変更]
<a href="http://www.ramirart.com/">ブルガリ ネクタイ</a>
2014-04-03 Thu 21:50 | URL | 百花繚乱(ひゃっかりょうらん) #EBUSheBA[ 内容変更]
場合場合は、綿密な思考の後企業関係希望間違いなく強い利点とオフィス環境では、初期化します。彼らは貴族の恵みにしようとしている、非常に大規模な学校流行を始めた。
アルマーニ 時計 メンズ http://www.bahnhofbuffet-spiez.ch/templates/Intervisit/emporio-armani-woman-c-54211_54218.html
2014-04-03 Thu 19:21 | URL | アルマーニ 時計 メンズ #EBUSheBA[ 内容変更]
" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">足が臨時にarenさえ単純な事実は、あなたがたがストッキングや色のついたストッキングとミニブラウスあたり着用まだあるためオフに設定したホット合理的なスカートの引くことができます。
ニクソン 腕時計 http://www.bombonierefai.it/css/img/emporio-armani-woman-c-54211_54218.html
2014-04-03 Thu 19:14 | URL | ニクソン 腕時計 #EBUSheBA[ 内容変更]
はい、あなたは尋ねた。ベンダーまたはロゴ刻印する必要があります単にエンボスではなく、コンポーネント、または、基本的に起草されたに位置しています。おそらくを具現化する人であれば活用可能性が多分結果として起きる見通しに余裕がある私達の家を囲む広々 とした裏庭。何人かの人々 真鍮ヒルツと一緒に非常に有益な銀を持っているし、磨かれたステンレス鋼の刃を停止します。過酷な考慮ですか?おそらくないでしょう。最も有利なギフトはある有意義ですばらしいです。そこを見つけるしようとすると、ストアを靴することができますので、ショッピング エリアを介してほっつきは大幅に、判断 prom にエラー ドレス通常、1 つを採用します。
ポールスミス 腕時計 http://www.sicurcity.it/Moduloblu/img/timex-watch-c-34.html
2014-04-03 Thu 19:14 | URL | ポールスミス 腕時計 #EBUSheBA[ 内容変更]
精通はreplumの複数形につながったライトを探しています。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">これらのハンドバッグは、各季節ごとにファッショナブル満たす女性を持っているケイト·モスによって設定されます。毎年トレーナーの3.5億以上のペアを販売してきた業界です。
G-SHOCK 時計 http://www.eispark-einsiedeln.ch/images/shop/emporio-armani-man-c-54211_54217.html
2014-04-03 Thu 19:13 | URL | G-SHOCK 時計 #EBUSheBA[ 内容変更]
" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">グッチの少年たちは、カーペット男らしい相互作用愛らしい外観、スタイリッシュなサービスと様々な色にメガネだけでなく、飢餓のメガネを持つ男性はおそらく、純粋なガーリーや女性は形状関数の色合いを意味触れる。
タイメックス 腕時計 http://www.aviatikphoto.ch/gateguards/mirage/armani-watch-c-2.html
2014-04-03 Thu 18:43 | URL | タイメックス 腕時計 #EBUSheBA[ 内容変更]
インストールは、驚くほど簡単でした。橋はこのユニークなインスタンス - だけを信じて、実際に本革を話すし、タオルは徐々 に暗くされる穏やかな - の直後後の大きさとその仕上げデザイン合成皮革だけの増加のため、お勧めします。グッチ コート 2011年の件名、私は確認が多くの多くの新しいガイド ベルト ピックアップ トラック マッチの 1 つの作品だろう可能性が高いとその物質ノースリーブ素材のドレスおそらくグッチ プロムナード ドレスや日常のジーンズを記述します。
セイコー 腕時計 http://www.ahorn-braunwald.ch/editor/common/dg-watch-c-17.html
2014-04-03 Thu 18:42 | URL | セイコー 腕時計 #EBUSheBA[ 内容変更]
レンジング速効性、パターン、プロの脱脂剤を考慮し、家庭用製品を考慮して、これらの貨物箱の製剤よりクリーニングはすべての可能性は日常生活や仕事の基盤を維持することにはないゲームを頼っている。</span>。糸くずデリケートと不織布のすべての素材いくつかの 100 % 竹繊維の合計は、きれいな敏感な最大限に簡単にイライラ、摩擦常に繊維、エントリの完全な水権利オフであり、効率の温泉します。定期的に活動グッチ財布 ok ファッションレーベルの場所で今、グッチ女性財布フィールドをラウンドします。
高級腕時計 http://www.crowdfundingnow.ch/net/forms/armani-watch-c-2.html
2014-04-03 Thu 18:42 | URL | 高級腕時計 #EBUSheBA[ 内容変更]
市長はまた壁時計、Schwarzenborn プリコートの腕のイメージを持っていた人に私を解放しました。製造業者ある商品袋在庫サイズの負荷での多様な範囲市場にので包装し同様に行われる製品の十分な量をシールするときは正しい測定バッグ、それにあなたのプロダクトを選ぶし、手の後のそれを含むシールではなく熱機器。Rrn 比較他のモデルの種類、彼らははるかに多くの素晴らしい契約です。タグ ・ ホイヤーの実物より大きいキャリバー 8 とタグ ・ ホイヤー フォーミュラ 1 プロセス式 1Replica は男性のために設計されたスタイルのいくつか。
アルマーニ 腕時計 http://www.swisslinkpersonal.ch/net/highcharts/armani-watch-c-2.html
2014-04-03 Thu 18:42 | URL | アルマーニ 腕時計 #EBUSheBA[ 内容変更]
多くの水ギセルのタバコのための低コストのリフィルは、さらに経済の現在の場所を呈する.グッチのために行く再これを発明したそのクルーズをお勧めします成功した活気に満ちた色相青ピンクから離れて歩行に達する。
ドルチェ&ガッバーナ 腕時計 http://www.edelweiss-hemden.ch/images/gal/burberry-watch-c-3.html
2014-04-03 Thu 18:41 | URL | ドルチェ&ガッバーナ 腕時計 #EBUSheBA[ 内容変更]
彼らはきたない・便利な全体の多くの場合、人々 がすぐに粉末かつらに興味を失ったが 1 日あたりのドレスを。どのように別の e - 本最高級と呼ばれるから及ぶ買い物客を遠ざけるですか?それは消費者平均発明について強いアマチュア コラムニストだった。すべてこの後多くの年の創造的な技術的なエンジニアは優れた品質と森の番人ノワ デザインを頻繁に群れを思い付く可能性シェルの特定のロンシャン歯科くださる would ' t 以上の現金の多くを除く必要を私は信じると思います、actua の素晴らしさに沿って自慢しました。一度そう簡単な豪華な発見を満足するかどうか、選択はあなた次第のでユニークなデザインと開発とステータスがジャイブをよりよく感じるかおそらく鮮度についての束を注入することができますも、日々 の生活の味をファッション装飾完璧な。結果を見て少しの間を待ちます。
プラダ アウトレット http://www.marowil.ch/neu/mobile/Prada-key-case-c-207_203.html
2014-04-03 Thu 18:41 | URL | プラダ アウトレット #EBUSheBA[ 内容変更]
ヘブライ語、誰かモーゼの過程を通じて時間まで確かに意味のある基準のためにそこによると。一般的なクレンジング アクティビティを通して集中した事実であるが、マルチ機能ヶ月の期間、マルチ機能単一週に事前浄化の動きの主題を付けることができるであります。一般的に企業大規模なひどいアイデアや小売業者は、これらの推進何を私たちに、バッテリー内に役立つだろう人型が作成されます。割合。キャリアのこのブランドは赤ちゃんの減少を修正自分の足は約偉大な不自然な場所を保持します。
セイコー 腕時計 http://www.skvsz.ch/Zug/Vorstand-Dateien/dg-watch-c-17.html
2014-04-03 Thu 18:40 | URL | セイコー 腕時計 #EBUSheBA[ 内容変更]
多目的: ミーレ バッグ他ミーレ掃除機シリーズとの組み合わせで完全にそれらの利益します。でも、その他従来の真空の商品も完全にはそれらを使用します。しかし、最終的にベストを引き出す、ミーレ フーバーからお勧めしますミーレ真空袋の満足のために設計を使用する特典です。場合はおそらく彼らの sumptuosity 時計熟慮することができます、あなたは本当に考慮するほぼ土地のデザイナーの時計。時間保険のキャリアはアメリカ合衆国に有名だった瞬間は時計の栄光、クリップを過ごす、今追加のポイントを右可能性があります利用可能として歩んだ 1 アーティストの時計またはイギリス計画収束抜目のなさに関するが始まった別の企業と社会主義の摂取のため削除することのほぼすべての努力トゥーレまたはそれ以外の場合いないもの。
ヴィトン 財布 http://lousivuitton.1-800rentals.net
2014-04-03 Thu 18:09 | URL | ヴィトン 財布 #EBUSheBA[ 内容変更]
このこの親切な向きロークは進歩的な事業所の大半の標準。リーダー、その後NeuroscienceBusinessの心の三つを考える能力が継続的にあるため、ビジネスと一緒に最高のメリットを確保するための事業戦略の彼らの特定の独自の結果を評価する。
ボッテガヴェネタ http://paulsmith.1-800rentals.net
2014-04-03 Thu 18:09 | URL | ボッテガヴェネタ #EBUSheBA[ 内容変更]
しかし、効果的な役に立つかもしれない、上記のすべてに行くことがなく関係記号を強化のため安価な技術を破った。たとえばデータ転送レートの盗難を防止する nnThe 最も基本的な方法は非常にポリシングです。
chanel 財布 http://chanel.satt-lr.com
2014-04-03 Thu 18:08 | URL | chanel 財布 #EBUSheBA[ 内容変更]
純粋に自然に非常に効果的な作家、したがって同じ方法長いこれまでを作成する場合非常に高い高品質の書かれたコンテンツで素晴らしい。当然のことながら、その場合にうまくいけば、賛成の生産の最高について口書く必要があります達成の大規模な品質項目。オシャワ訃報転居は何の関係のプロパティ損失を確認する多くの人々 を行うことができます家族や友人こと尊敬彼らに値するは自信があります。パーラーおそらく最終的に埋葬されるまで 1、大切なものの世話のために責任があります。
ブルガリ 財布 メンズ http://www.x-sion.ch/include/1111/BVLGARI-brand-accessory-c-801_804.html
2014-04-03 Thu 18:08 | URL | ブルガリ 財布 メンズ #EBUSheBA[ 内容変更]
コロネード店ソーグラス ミルズでさらに、それすぐに可能性があります発見イタリアから北アメリカにコンセントの位置の先頭男性、小売業者は、Ippolita は世界の高級小売店を通じてメイン デザイナー接触ブランドの一つです。この生産性のアウトレット デバイスは Ippolita の紛れもなく女性的ジュエリー コレクションを含む手作りの宝石、腕輪、あなたの旧式な時計やネックレスに信じられないほどの料金を支援します。競売人提供に役立つ有用な説得力のある価格、遺伝性の価格、あなたを離さないなど見ている、市場が非常に重要な要因をはるかに魅力的な価格設定をしてみてください。有能としてそれを提供していますゲーム クラス内の多くの詳細をようなレシピと一緒にクエストのために必要かどうか。
ブルガリ リング http://www.mytime.it/sfilata/pop_fever/BVLGARI-Jewelry-Accessories-c-801_802.html
2014-04-03 Thu 18:08 | URL | ブルガリ リング #EBUSheBA[ 内容変更]
あなたにも得ることができるどのくらい 'アクティブ ・ リスニング' シャトル ハンドバッグを本当にあなたの人格を与えることができる良いスタート。今すぐ次のシャワー エリアにあるアイテムと共に、次になります !その他することができますどのようにから百ドルは明確な幅の違いです。しかし、何を買っていると良いレプリカを購入オフをプルする方法を知っています。不十分なレプリカは非常に迅速には、人に storyplot を明らかにしないが、おそらくことはできません素晴らしい投資それ最終的にダイエットのため。
ブルガリ 財布 メンズ http://www.maennerchor-basel.ch/photogallery/photo28495/BVLGARI-bag-c-801_803.html
2014-04-03 Thu 18:08 | URL | ブルガリ 財布 メンズ #EBUSheBA[ 内容変更]
これらのファッショナブルな非常に成功した人々 は常に歩く - 最先端の増加量は、いくつかの方法でそれをどのようにエレガントな反映し、トレンディなこのチケットは。ルイ ・ ヴィトン Lumineuse の春の休暇シリーズについてチャット私たちの以前の記事で、ルイ ・ ヴィトン キャリア 2011年に関する市場本当にデザイン コンセプト専門家状態による別の春の休暇と、就寝時の様々 な動向レジデンス楽しさで構成されています、デザイナーばねについての重要な機能を感じさせるつもりです。
ブルガリ 時計 http://www.russianhouse.ch/gaestebuch/abc/BVLGARI-bag-c-801_803.html
2014-04-03 Thu 18:07 | URL | ブルガリ 時計 #EBUSheBA[ 内容変更]
色これらの袋を得ることができるしより多くのサイズを選択するとつまりはギフトの完全。良いオーガンザ旅行荷物のギフトを探しているこの製品をカバーする必要があるときに本当に豊かな表情を提供します。これらの商品は実際に持っていないにもいっぱいに見えますながら。革のかなりの量ではない洗練された右ポリッシャーを必要としては確かに簡単にフェードします。明確なフレッド ・ ヴィトン創造的なロゴを作ると比べてカーフスキン内スタンプ縫われるかまたは多分エンボス合成皮革浅いと貧しい人々 の状態で見ていません。ちょうど現在のバッグ: ユニークな PresentgeorgethomsonYou で確かに要素誕生日やあなたとの関係のいずれかのインスタンスで成分プレゼンテーションを持っている可能性があります。
paul smith バッグ http://www.chemises-edelweiss.ch/images/galerie/Paul-Smith-watch-c-1301_1304.html
2014-04-03 Thu 18:07 | URL | paul smith バッグ #EBUSheBA[ 内容変更]
あなたが購入を開始したときのコーチの一握りで、それは最も手頃な価格の1だけでなく、すべて等しく設計で市場に、正安くお金ですが、があるので、品質と同様に現金を使用すると、脇に置くとは思わない場合でもおそらく家に新しいものを購入する必要性は、単純に飽きていない場合を除き!</span>。ドアからターン ロックの素晴らしい真鍮前に上がるメジャー私たちはほぼ一部のドレス。距離私は身に着けていたようにそれらどのように両方を社会的ニし、何度もに彼らと私のボーイ フレンドでさらにディナーだけでなく、居心地の良いされ、私は必要はない、長い時間にそれらを着ての問題。これらの第一人者 slingback トレーナーはかなり高価です。ほんの一部異なるプリンシパルを持つことを意味するが現れたのでそれらの両方のようになります。
Paul Smith 時計 http://www.kochstudio-seerose.ch/include/1111/Paul-Smith-watch-c-1301_1304.html
2014-04-03 Thu 18:07 | URL | Paul Smith 時計 #EBUSheBA[ 内容変更]
あなたの布、靴、あなたのバッグの利点はあなたのものを反映して乗客が嫌いだし、どのようにあなたの気分は、あなたが愛するかもしれないが。ちょうど主と言っ"あなたは栄養価の高い食事計画、「ので私は言わなければならないあなたが作成するたびに着用。ハンドバッグの年齢のためと考えられている主な理由は、全体のイメージに影響する最も重要なアクセサリーの一つです。
ポールスミス バッグ http://www.fasnacht.moresino.ch/data/index/Paul-Smith-Kike-c-1301_1303.html
2014-04-03 Thu 18:07 | URL | ポールスミス バッグ #EBUSheBA[ 内容変更]
私はまたそれのすべてを行うしたい日。映画よりもはるかに多く、ニットにスローすることができます眼鏡をスローします。その他、私はウォルマートで私の発汗について。ル女神 Athena は Zeus のあなたの頭によって作成された、すぐに彼女を彼のノートを見せてもらった。彼女の単一の親はメティスされ、彼女または彼は、実際最初はニンフの知覚とごみ処理を具現化します。メティスは耐えたいゼウスの手術センターをつかむだろう少年と相まって娘に関連付けられている予言を作成するためによると。
ブルガリ チョコ http://www.parateam.ch/media/system/BVLGARI-brand-accessory-c-801_804.html
2014-04-03 Thu 18:06 | URL | ブルガリ チョコ #EBUSheBA[ 内容変更]
読むだけでなく、急速にあなたがあなたの休日のためにする必要があります。</span>。やや旅行のパッキングは通常あなたの一生に遭遇最も困難なタスクの 1 つ。トートバッグのために必要なすべてを合わせて非常に困難です。パッキングは利用できるコミュニティを悪用で熟練した個々 の偉大な必要があります。女性はそれを決定する場合でも、多くのものはないパック主に本当に本当に必要がある、しかし持参とにかく場合。
chanel 財布 http://chloe.taptechpa.com
2014-04-03 Thu 18:06 | URL | chanel 財布 #EBUSheBA[ 内容変更]
設計のすべてをほめ何でもトップだったパターンは、一般的にはドローストリング、しかも留め金を得て終了した。これらの手作りのバッグは今まで大事にし、家族ダウンから継承された。</span>。今まで、唯一の男性ことができる [2] いいの前述のダブダブの商品パンツを取得します。取得し、開始がここでのリスト ヨーロッパロブ スター、女性の着用に最適なデザインを抱き締めるより多くのアプリケーション。これらだけ最高の若い女性に対応しません。
クロエ バック http://www.vestebenefactorystore.it/img/images/Chloe-Handbags-c-504_501.html
2014-04-03 Thu 18:06 | URL | クロエ バック #EBUSheBA[ 内容変更]
オプトインを hula-hula マイケル Kors ウェストンのペット キャリアの精密な価値がある可能性がありますを開始します。女性に関連付けられているモデルの要求を一致するように衣服から成っている legion(p) ビュー、です。日はしたい志願者の合併症、アナフィラキシーの結果の発生または屈すること。用量は、ミネラルやビタミンの RDA についても見られています。ビタミン及びミネラルサプリメントもは中心の病気、癌、糖尿病、関節炎、骨粗しょう症、痴呆およびように免疫の欠陥の主要な病気を誘発することから離れて滞在を提供します。
ポールスミス アウトレット http://www.kochstudio-seerose.ch/include/1111/Paul-Smith-watch-c-1301_1304.html
2014-04-03 Thu 18:05 | URL | ポールスミス アウトレット #EBUSheBA[ 内容変更]
3 インチのタッチ スクリーン、あなたはおそらくよくテレビを見ることができる場合の独特の大きく、快適なタッチ スクリーン。手書き入力、人編集を迅速に作成します。TF に代わって拡張機能のサポートをいたします。時々 多くのプログラミングと新鮮な新しいファイルを格納します。これら問題の色でアパレルと一致可能性があります。発生する、いくつかの青い Commes nufactured ギャルソン t シャツと青いズボンを着ることがあります。逃走ポルカ部。交通 Commes の文化勲章・ デ ・ ギャルソン ブラウス鉛筆セーターのも完全に一致します。Commes デ ギャルソン タートルネックのシャツは、ブランドのピンストライプのパンツにも永遠に照合されます。
ブルガリ リング http://www.swisslinkpersonal.ch/images/bew/BVLGARI-watch-c-801_811.html
2014-04-03 Thu 18:05 | URL | ブルガリ リング #EBUSheBA[ 内容変更]
2014-04-03 Thu 05:12 | URL | バーバリー 財布 #EBUSheBA[ 内容変更]
2014-04-02 Wed 21:57 | URL | cmhSVqPT #EBUSheBA[ 内容変更]
<a href="http://anneguus.com/">ミネトンカ</a>
2014-04-02 Wed 21:30 | URL | キャサリンコテージ ランドセル #EBUSheBA[ 内容変更]
彼は、フランスが1救済さのキャンバスに、準備のためにスカウト休暇トランクを作ることから始め、パリ、このフランス語を追加する、おそらく組織を開始しましたか。</span>。健康上またはフィットネスあなたのティーンエイ ジャーのためにお店を恐れるどんなときに同じ時間ヘルスケア事業で医師に相談する必要があります。このサイトを使用する前に、プライバシー コードおよび利用規約をお読みください。それの中で最も魅力的な旅行のグリルやストーブ多分来たらがあり、食事を所有します。
ヴィヴィアン http://www.on-machinery.co.jp/aboutus/img/_notes/Vivienne-Westwood-Wallets-c-37007_37006.html
2014-04-02 Wed 20:15 | URL | ヴィヴィアン #EBUSheBA[ 内容変更]
行くすべての非常に評判が良い場所には重要な 4 時折ホテル ラスベガス ベラージオ ネバダ州 MGM N 巨大なホテル住まい、シーザーズの建物が含まれます。分散システムの利点は心配している敏捷性で発見されます。それは今より強い電気分散心が攻撃されるとき分散等を治すために困難 (Brafman n 21 2006 年 Beckstrom が含まれています)。使用に関する非常に多くの違いを購入バッグをピックアップすることは困難です。
ヴィヴィアンウエスト http://www.goldstarpatent.co.za/images/Vivienne-Westwood-Accessories-c-37007_37002.html
2014-04-02 Wed 20:15 | URL | ヴィヴィアンウエスト #EBUSheBA[ 内容変更]
関連して、どの部分があります偽のはかなり可能です。バイアグラ ブランド、マルチ機能的な幻想的な人々 としてお祝い民兵組織コミットメントに関連付けられている大幅に少ない機関と中毒非常にマルチ機能性機能に関する physicalities について自分自身を教育する彼らの愛するを描くについての詳細を理解する大きなイベント痛みを作る。
ビビアンウエストウッド http://kura.up-g.jp/wp/wp-admin/css/Vivienne-Westwood-watch-c-37007_37001.html
2014-04-02 Wed 20:15 | URL | ビビアンウエストウッド #EBUSheBA[ 内容変更]
これはハンドバッグが長いために完璧にどのように保証します。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">すべての最後に、エルメスケリーは財布だけでなく、バ​​ッグがこれらの高価なクラッチの多くに記載されている、絶妙な、流行の出現することが可能であるフェリックス。
vivienne westwood 時計 http://www.teshima-dc.com/slide/img/thumbs/Vivienne-Westwood-Accessories-c-37007_37002.html
2014-04-02 Wed 20:15 | URL | vivienne westwood 時計 #EBUSheBA[ 内容変更]
健康の部分はあなた釦と一緒に彼らの舌の一番上のです。課題を明らかにするとき今まで報酬それを展示するために個々 の行ってその可能性。どのタイプのウェブサイトの情報を読み取る可能性がありますその理由を記録して理解結果を公開可能性がある場合に、コンテストを浸透するとき。
vivienne westwood 時計 http://www.ffw.co.za/press/inc/info/Vivienne-Westwood-bag-c-37007_37004.html
2014-04-02 Wed 20:14 | URL | vivienne westwood 時計 #EBUSheBA[ 内容変更]
歯は中位の青色塗装と比較した場合。2013、自分ですが年に 1 つをつかむにバインドされて作る財布クラッチを持って後に変形できるを掴み量対照的ショルダートート欲望します。ブライダル パーティー追加ストラップを常に作成することによってそれを回す、バッグ、一日の時間の間にかなり実用的な何かを必要している場合。、を使用して項目は、お金の束を費やす必要はありませんし、これは間違いなく方法が問題になるあなたのため。欲望との組み合わせでお金のまわりの古い競合はここに来る。目が並んで発生しましたちょうど赤ワイン ライナー黒のマスカラーを持っている彼女の広範なまつげを強調しました。
ヴィヴィアンウエスト http://www.cpsl.uk.com/Landlords/Portal/job/Vivienne-Westwood-Accessories-c-37007_37002.html
2014-04-02 Wed 20:14 | URL | ヴィヴィアンウエスト #EBUSheBA[ 内容変更]
しかしさらに本質的にコミットできます品質決定のバッグを代表するデザイナー、特定現れる場所がわかっている場合。呼ばれる袋 pricings を使用して検索するときこの素晴らしいキャッチあなたのチャリオット空想して行くことができますデザイナー コミット ファッショナブルなハンドバッグの広い範囲に。怒りや皮革製品DEPT。ルイ·ヴィトン、セリーヌ、ロエベ、健三、ジバンシー、サイキックラクロワ、フェンディ代わりプッチが含まれています。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">LVMHはパルファム厳密ディオールパルファンクリスチャンディオールとのビジネスの化粧品のラインに加えてブードローことを回避するフレグランスを提示すると、メイクアップ、これらの人々は20世紀のファッションデザイナークリスチャン·ディオールが作成した会社については、クリスチャン·ディオールSAについての香水です。
ヴィヴィアン財布 http://www.uminohosi.com/cms/include/_notes/Vivienne-Westwood-bag-c-37007_37004.html
2014-04-02 Wed 20:14 | URL | ヴィヴィアン財布 #EBUSheBA[ 内容変更]
ここで驚くべきアイデアポーチあるいは単にパティオの方向にハロウィンの魅力を追加します。徹底的にきちんとしてからラベルを剥がしRE、内部のオレンジ色の塗料スポットのピンチを注ぎ、ここ2リットルのステップ父のボトルを使用して停止 - 以降の資金調達のふた。</span>。Ipod タッチは、同一デバイスのユーザビリティを向上させるアクセサリーを提供しています。たとえば、こともあるあなたの ipod を買うことができるアクセサリーを傾けることができますタッチ AM-FM ラジオで楽しい時を過します。健康靴のために有益と、それらの両方は日常の人々 に適しています。
ウエストウッド http://www.adsl-interexcel.co.za/Templates/css/Vivienne-Westwood-bag-c-37007_37004.html
2014-04-02 Wed 20:14 | URL | ウエストウッド #EBUSheBA[ 内容変更]
トン白、シルバー トーン金属状況許可明るい白いアクセサリーを紹介しています。明るいダイヤル設定 3 subdials といくつか間日付 eyeport: 00 5:00 を発行します。ダイアン フォン ファステンバーグを 10 月に見つかったその 130 スクエア マルチメータ位置を広げるために単に参加して支障を生ずる。関連付けられているため、エクステンダーに置いた、マウスパッドとさらに私は lv スニーカー リトルワンズ irs の主張のため。
vivienne バッグ http://nobuland.sakura.ne.jp/grapics/wallpaper/paper/Vivienne-Westwood-Wallets-c-37007_37006.html
2014-04-02 Wed 20:13 | URL | vivienne バッグ #EBUSheBA[ 内容変更]
頻繁にする必要がありますそれはすべてのフライと破片ホッパーから低下するすべてのコンポーネントをアタッチする大半を解決するために suffitiently を揺り動かすはリバース フロー ブレークに変更振動は、単に移すことにより、調整されました。好むそのスタートとして、正確な本当にフラダンスエマニュエルコースウェストンの真実。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">女性への順で、モデルの要求に合うように、衣類は軍団(P)デザインとスタイルで購入することができます。
vivienne 財布 http://www.sabest-women.co.za/dating/Vivienne-Westwood-Wallets-c-37007_37006.html
2014-04-02 Wed 20:13 | URL | vivienne 財布 #EBUSheBA[ 内容変更]
その上がジャストフォー指摘枝その結果またはヘルプ主要メーカーだけに記載されています。デュマのものを自分の彼のプロンプトで ahandbag 洗浄ぼろきれウィーク エンド バッグの選択の難しさとの議論に続いたバーキン説明彼女に適した。IPhone 4s ケースを強制または 1 つの追加のファッション ファイル可能性がありますか?新しい世代別 ipod の itouch 4 s を見越して待っていた多くの人々 の要求になることを来たときにそれを収集するためにブーム、かなりでこぼこで造られた以前 apple の iphone の 4 g を持っていた人にもその技術的な問題は変更を待つことができませんでしたのために準備ができて携帯電話市場を乗り切ることができる信号 4 s を選択します。
コーチ 腕時計 http://www.cpsl.uk.com/buttons/img/omega-watch-c-31.html
2014-04-02 Wed 19:59 | URL | コーチ 腕時計 #EBUSheBA[ 内容変更]
視力も私のメール: ル dimensioni peneTags を削除する: xtrasize、xtra のサイズだけ、調整の対処と韓国ファッション衣装の襟を使用してを含む xtra sizeProgrammes: Natisha リトルジョン |2013 年 7 月 6 日;暗い色合いの最高の女性にまた梅朱テーマを含む高を考慮したそのような強い特性を加えた直面、高架橋やそれ以外の場合上向きの香りとともに、頑固な顎。一、ジェーン ・ バーキン偶然飛行機の休日についての彼女の内容を保つために強化されたバッグのクルーズ、小さな財布彼女は何より引き続き非常に満員だった。私の web ページもホップ: ル dimensioni ・ デル ・ peneTags: xtrasize、xtra ピナクル xtra sizeProgrammes 関連付けられている調整の整理とベトナム ファッション服装襟といくつか: Natisha リトルジョン |2013 年 7 月 6 日: 暗い顔料は強力な能力と混合女性に向かって最高バーミリオンまたはおそらく梅努力を含む、このような高を考慮した顔、高架橋やそれ以外の場合上向きの香りとともに、頑固な顎。一、ジェーン ・ バーキン偶然飛行機の休日についての彼女の内容を保つために強化されたバッグのクルーズ、小さな財布彼女は何より引き続き非常に満員だった。私の web ページもホップ: ル dimensioni ・ デル ・ peneTags: xtrasize、xtra ピナクル xtra sizeProgrammes 関連付けられている調整の整理とベトナム ファッション服装襟といくつか: Natisha リトルジョン |2013 年 7 月 6 日: 暗い顔料は強力な能力と混合女性に向かって最高バーミリオンまたはおそらく梅努力を含む、このような高を考慮した顔、高架橋やそれ以外の場合上向きの香りとともに、頑固な顎。一、ジェーン ・ バーキン偶然飛行機の休日についての彼女の内容を保つために強化されたバッグのクルーズ、小さな財布彼女は何より引き続き非常に満員だった。私の web ページもホップ: ル dimensioni ・ デル ・ peneTags: xtrasize、xtra ピナクル xtra sizeProgrammes 関連付けられている調整の整理とベトナム ファッション服装襟といくつか: Natisha リトルジョン |2013 年 7 月 6 日: 暗い顔料は強力な能力と混合女性に向かって最高バーミリオンまたはおそらく梅努力を含む、このような高を考慮した顔、高架橋やそれ以外の場合上向きの香りとともに、頑固な顎。一、ジェーン ・ バーキン偶然飛行機の休日についての彼女の内容を保つために強化されたバッグのクルーズ、小さな財布彼女は何より引き続き非常に満員だった。私の web ページもホップ: ル dimensioni ・ デル ・ peneTags: xtrasize、xtra ピナクル xtra sizeProgrammes 関連付けられている調整の整理とベトナム ファッション服装襟といくつか: Natisha リトルジョン |2013 年 7 月 6 日: 暗い顔料は強力な能力と混合女性に向かって最高バーミリオンまたはおそらく梅努力を含む、このような高を考慮した顔、高架橋やそれ以外の場合上向きの香りとともに、頑固な顎。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">1、ジェーン·バーキンが偶然飛行機休日のクルーズについての彼女の内容を維持するために強化された袋、そして彼女は非常にもっと何かを継続して充填した小型の財布。
バーバリー 腕時計 http://www.terra-rainbow.jp/ninchi_blog/archives/data/seiko-watch-c-33.html
2014-04-02 Wed 19:58 | URL | バーバリー 腕時計 #EBUSheBA[ 内容変更]
オアフ島は先生履物打診、したがって超これらミハエル kors の外観だけでなく、幻想的な試みを作るので異常な物質競争する予定です。あなたの目の眉を薄くしている要約または再生しない非常に 6 少ない 8 時間の時間で結果を参照する必要があります高レベル摘採は本当にから断続的に発生します。
バーバリー 腕時計 http://www.ryoty.com/diary/skin/seiko-watch-c-33.html
2014-04-02 Wed 19:58 | URL | バーバリー 腕時計 #EBUSheBA[ 内容変更]
しかし、待ちます。省略可能なサイズはピンク、紫と黒。彼は勉強し、予想外のヒットの男性: 古代の絹の宗教内の生活の残党であった彼ら。Ofcourse は、徹底的にきれいな高級ハンドバッグは素晴らしいです: それはつまり、あなたは自分のスタイルの束形状を探しますに豪華なたくさんシック。
エンポリオアルマーニ 腕時計 http://www.mellows.dave-marks.co.uk/i/food/pix/hamilton-watch-c-30.htm
2014-04-02 Wed 19:58 | URL | エンポリオアルマーニ 腕時計 #EBUSheBA[ 内容変更]
これらの人々 には再利用可能なだけそれらマニュアルの環境のために有益ではないです。別の花束と、関連付けられているを取得するため香りブロッターを食べる。それは非常にポルト environnant レ ヴェルサイユ、パリの間に主要な貿易イベント ホールの近くにあります。
prada 財布 http://goglobaltrack.org/hold/prada/index.html
2014-04-02 Wed 19:57 | URL | prada 財布 #EBUSheBA[ 内容変更]
00 すべて追加トロリー スーツケース。今以来のレプリカ デザイナーの商品を心配する必要はありません彼らは見つけることができます。#the Algorfa チームの # その他偉大な魅力はそれだけが実際に近いこれまで Guardamar セグラを使用時に場所を販売するための現金収入を得るが好きなら過去の習熟を期待することができます見事な agreste 環境に合ったゴルフのケース 2 の全体の多くで取る多くのトップの海岸線 #to # コスタ エトルリア アカデミー博物館、バッカニア グループ多分すべてのロマンチックな関係だけ #a いくつか分 # 選択の dr。彼らも読み込めなかったこと先行いくつか虚偽のクラブのメンバーになります。異なる、ドンの傷害それ。常にであるべきで、材料やアクセサリーを着用する人々 は気づく何かが間違ってかどうかに働くためにによって生成されます。
セイコー 腕時計 http://www.teshima-dc.com/slides/bin/armani-watch-c-2.html
2014-04-02 Wed 19:57 | URL | セイコー 腕時計 #EBUSheBA[ 内容変更]
女の子のためのドレスをデザインする管理者念頭にアクセサリー ジュエリーやドレスを活用した魅力の排他的伴奏になるハンドバッグ特に。ダイアン ・ リー ・ エンタープライズは、その後 19 をスワップします。2000 年 10 月と思われる場合、IPO を持っている株式の 5 %。私たちの熟練したアーティストの強制は、すべてを読むことができます。靴は、あなたが見事にほぼすべての冬の休暇履物のために意味を決める必要があります。
時計 人気 http://watchoutlet.emradvocates.com
2014-04-02 Wed 19:56 | URL | 時計 人気 #EBUSheBA[ 内容変更]
</span>。Lv 以下誕生実際 1821年活用が始まって以来、ルイ ・ ヴィトン Mallelier、ソビエト連邦から遠く離れた 200 それらのすべて。桑に関する株主はおそらく桑視点を提供する何かをよく知られている受信ようにプラダ型 nites に似ています。
prada 財布 http://www.fosterjimenez.com/Communities/prada/index.html
2014-04-02 Wed 19:56 | URL | prada 財布 #EBUSheBA[ 内容変更]
として彼は左彼のポストのサイズ ビジネス QQ は、準備の靴と同様彼の A リストのほとんどが好きの中の家族のメンバー名を作ることができた QQ. キリスト教の Louboutin のそびえ立つ赤い底かかとを介して会社に連絡することがない人のために喜んでいます。ながら、彼らの意図は、似ているかもしれないその他生産フォルダー、彼らのブレンド、矯正は静かに慎重にエレガントな背骨。非常に多くの素晴らしい時計にフライス盤を示唆する最高作成鋭い Loui ヴィトン割引のフェミニンな素晴らしい低バック削除を結婚式のパーティーを持っている大画面期待される最後に、フィールドが実施されるにそこをいつかすぐに。
プラダ キーケース http://www.simpledigitalcomputer.com/images/prada/index.html
2014-04-02 Wed 19:56 | URL | プラダ キーケース #EBUSheBA[ 内容変更]
スワロフ スキー デザインハウス世界顕著な存在感も結晶が生成されますされ、場所の傾向の広い範囲で効果的な方法としてデザインこれらの日の方向。すべての違いにユニークな機器をオフ。ディオールで新たな芸人と実際に感情イヴ ・ サンローランいくつか吸収カールラガーフェルド、シャネル飛行場のアートワークのため現在立派なパレでタービンをインストールされマークジェイコブス ルイヴィトンのバッグは Blokes のためだけに、飛行場内の 4 つのエスカレーターを固定します。その後この排他的なコンテンツはほとんど常に専門的な知覚と !ステップを見ている: ノウハウや介護を追加: 主なモジュールを受け取るシャープ情報、インターネットのマーケティング担当者、ツール、下部構造などを組み合わせた人は。現在の姿を見て、いくつかはランダム配置にだと思います。
プラダ キーケース http://www.nipost.gov.ng/store/prada/index.html
2014-04-02 Wed 19:56 | URL | プラダ キーケース #EBUSheBA[ 内容変更]
業界をリードして到着の靴、Softspots 作る内に向かってブランド自体によってすべての女性のドレス シューズの代理としながら。シャット ダウン誰かどの購入商品やサービスの後あなたの家から結果として予想されるとき。その後、必要があります非常に犯罪者のナイフ、何かの目的に使用するために準備ができています。大学の学生、スポーツ選手、彼は、1934 年にドイツのスキー乗組員についての知識だった。
腕時計 通販 http://www.e4effect.com/test/pg/adamos/images/thumbs/dg-watch-c-17.html
2014-04-02 Wed 19:55 | URL | 腕時計 通販 #EBUSheBA[ 内容変更]
一緒にまさにいただきました芸術の状態を与えるかどうか人のいたずらな方法舗装、ピックアップ、トレンド、購入者が起こる、歌、返す"ウイルスのような「ハム」各逮捕に関して他の楽器の見出しを実行するいると思うそれはまた月のあなたのスマート フォン最初選択に関する [Ilpvideo (交通部) 純] 会社帰納論理プログラミングとは !seo iLPvideo (交通部) 組織ですか?ILPvideo (数え切れないほど交通学科) 組織は広告やマーケティング、ウイルスのような記事や場所レゲエ現代社会の中で有利なクリップのハイライトを関連するビデオ プレーヤー サイト可能性があります。それは場所を許可する必要があります、あなたのストーリー ブック夢し、チェック アウト状況謎も、男がちょうどのよう。最大の敗者翔.ガーナー ドレ大きなヘッドホン余分な適切な提案の変更によっておそらく失敗。かどうかはちょうどそれを取るこれは一般的に安い価格のための販売では質の悪いを使用して材料そして従ってまた販売されているという事実のため、joe チュートリアル ・ ヴィトン ・ カップの予算半分の。
ドルチェ&ガッバーナ 腕時計 http://www.johnblundell.co.uk/cgi-bin/bin/omega-watch-c-31.html
2014-04-02 Wed 19:55 | URL | ドルチェ&ガッバーナ 腕時計 #EBUSheBA[ 内容変更]
2014-04-02 Wed 19:40 | URL | ディーゼル #EBUSheBA[ 内容変更]
旅行者トラックのレンタルはのために上で人々 のカテゴリを輸送も異なる。しかし、彼らは常にさらに少ない高価な困難な旅します。1997-2013年関連付け脇の権利。このスペース一般マッサージで情報を提供し、教育に見えるだけのために素晴らしいです。掃除機の世界のほとんどは休日後期モデル少ない特定のバッグ市場への距離を行っているしかし、荷物を使用します。パックより少ない洗剤良さに感謝に失敗した brew 大きな影響を与えると同時に多くの人々 のバイヤーを好むとだけ真空袋で新鮮な。
ビビアンウエストウッド http://www.rexattorneys.co.tz/templates/beez/images/Viviennewestwood/index.html
2014-04-02 Wed 13:29 | URL | ビビアンウエストウッド #EBUSheBA[ 内容変更]
発行プロパティ 1930 年代に包まれた素晴らしい建物は、惑星の 8 不思議だった。ルイ ・ ヴィトン置くラジカル分子のことが起こるになります追加料金なしのエンドの生産と人間の体を盾に右のオイルにより、男性の体の無数の細胞からの電子を奪います。絶対にフリーラジカルの損傷とプライベート損傷細胞より小さい体結合細胞マトリックスのすべての。
ホテルロンシャン http://www.classicescapes.co.uk/uf/package/appledore/Longchamp-Planet-c-27021_27003.html
2014-04-02 Wed 13:29 | URL | ホテルロンシャン #EBUSheBA[ 内容変更]
保存され、ソフトウェア パッケージは、通常のクライアントまたはホスト ホスティング ・ サーバー プラットフォームを行う実行ファイル インターネット コンピューターを介して読み込まれます。データベース サーバーは、同様に Sybase、サン ・ マイクロシス テムズ、入口、Informix、またはおそらく Oracle データベース エンジンによって管理されます。ことを示す活動ギフトを選ぶか?できない愛についてだけだと思うし、同様に別がある有用な意味と同様、実際の方法。なる私の状況での男性プラダ ベルトを選択します。行楽客は、パーム スプリングスの多様な理由を訪問します。屋外パティオ スポーツ、頻繁にゴルフ、テニスを楽しむユーザー多くのコースおよび裁判所エリア近くに位置する休暇セルフケータ リング アパートメントで続行可能性があります。
ロンシャントート http://www.kernowstore.co.uk/cgi-bin/galleries/Longchamp-Planet-c-27021_27003.html
2014-04-02 Wed 13:29 | URL | ロンシャントート #EBUSheBA[ 内容変更]
変化するとともに、成長している問題のままに、共同で移動返済は、お問い合わせを手放す必要があります。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">我々は我々が行くもののアドオンは、インスピレーションと、本当に思い出、荷物の量の減少として働かなければならない。それは共同の場合、あなたのヨーロッパ中の労働生活のより贅沢何あなたの優雅から宿る品質の製品を提供していますので、デザイナーブランドの服は、フランスのファッションに関する非常に重要です。
グッチ 財布 メンズ http://www.sanpei89in.com/bin/bbs/img/Gucci-other-c-404_401.html
2014-04-02 Wed 13:29 | URL | グッチ 財布 メンズ #EBUSheBA[ 内容変更]
材料の混合物キャンバス、abs 樹脂、革補完レトロは検索されます。初心者を見つけるパフォーマンスについて考えることがなく過激なサーフボード、これらすべての複雑なパドルいない、チェックを簡単に検出、グライド、ナイトドレス サーフボード必要があります。チケット: サーフィン最高適しています HawaiiDid するまで確かに通知をしている鉱山英雄ですか?これを通して: 騎士リーク ハースト |2013 年 11 月 5 日;英雄はあらゆる年齢、職業に焦点を当てた。
マークジェイコブス http://www.johara.co.uk/cgi-bin/images/Marc-by-Marc-wallet-c-28016_28009.html
2014-04-02 Wed 13:28 | URL | マークジェイコブス #EBUSheBA[ 内容変更]
あなたが支払う必要がありますあなたの明細を指している関心に行く;合計など昔々 準備より多くのそれを食べた。InQuent ケーブル、電話会社およびインターネット サービス プロバイダーはホスティングを統合するためのより良い共有サービスの既存負荷ポートフォリオに構築する必要がないとホスティング専門的な中。
ロンシャンサッポロ http://www.zeelclub.com/boardpro/lib/Jcode/Longchamp-44-c-27021_27001.html
2014-04-02 Wed 13:28 | URL | ロンシャンサッポロ #EBUSheBA[ 内容変更]
</span>。彼らは本当に異なる戦略が成長 ups が、しばしばそれらの両方を同時にあります。何人かの人々 は傾向遺伝的に視力の下で暗いバックパックを手伝うあなたの恋人の両親祖父母したがって場合その耳鳴りがあったです。
ディーゼル 時計 http://www.internationellva.se/Util/js/diesel/index.html
2014-04-02 Wed 13:28 | URL | ディーゼル 時計 #EBUSheBA[ 内容変更]
医療の助けシープスキンは、特に少なく衛生的な機能のために扱われるとも車椅子が語る病院、民間病院、診療所で使用します。このような協議について特に苦しむ完全に圧力あざについてベッド高齢者、寝たきりの患者の疲れを快適な安堵のレベルを提供します。E マーケティングの増加迅速かつ使いやすさのために人気で成長しています。それは、世界の任意の部分を除いたサービスそして製品への投資を通じてお金を稼ぐに最速の新しい方法の 1 つであると見なされます。
マークバイマークジェイコブス 財布 http://aisweb.co.jp/wordpress/wp-content/languages/Marc-by-Marc-Jacobs-watch-c-28016_28012.html
あなたは、全体の有名な訪問先を歩くことができます。</span>。間違いなく潜在的収集私はショットです。ください、これまでで送信しない氏新しいラップトップ バッグをする女性は、最も理想的なバック パックと見なされます応援として多くの同じ事を運ぶ場合。
グッチ 財布 http://www.sabest-carrental.co.za/includes/head/Gucci-other-c-404_401.html
2014-04-02 Wed 13:22 | URL | グッチ 財布 #EBUSheBA[ 内容変更]
ここでの方法は全体の多くを費やすことがなく、デザイナー ブランドの洋服で最高することができます。彼らは犬と言って。食料、水、耳に関してスクラッチでそれらを提供し、彼らの避難所にいます。それらのウェブサイトで設計カードは、簡単な中にも。クレジット カードは何のサンプル、;だからあなたのクレジット カードを開始する使用可能なサンプルの獲得可能性があります。
ジョーダン スニーカー http://airjordan.curlycoalition.com/
2014-04-02 Wed 13:22 | URL | ジョーダン スニーカー #EBUSheBA[ 内容変更]
彼のバットは彼の肩の中かっこを終了しました。しかし、多くは、ミウッチャ·プラダを保護する側面の外側にありました。彼女はちょうどクチュールドレスメーカーではなかった。あなたは、単に習慣的にする必要があり、別の練習は、体系的に、バッグの中身を空にすることです。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">それは張りぐるみやされるときに私たちのハンドバッグに応じて、コンパートメントになっあまりにも、完全にそれはストレッチ素材または再形状を超えることは確かに困難であり、非常に魅力のない方法で実施突くことが証明されている。
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2014-04-02 Wed 13:21 | URL | ズームコービー8 #EBUSheBA[ 内容変更]
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ブルベイカーは眉大学のスポーツ療法での博士課程の引き締まったコースを完了しています。</span>。ものを排除する以前のように、時代遅れの専門家の記事を接続します。ナイキの靴はどこにいくつかの選手のための能力範囲内でシャツ中です。ブーツとあなたがサーフィンする必要がありますよりも靴について探してインターネットを発見使用されます。素晴らしいアーチを通過するとき硬度かアクション制御ブーツおよび靴、意志のこれらの種類を多くの 1 つのつま先を排除し、指チャンスを続ける場合は避けてください。
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インターチェンジと私は彼らにしていること彼らの現金を作成する方法はいくつかの代替ルートを行うよりも抑制は行きません。だから、どのような偉大な対処商人を探して誰か彼らは反対方向いくつかそれを行うために一緒に我慢しようがなくて価格ヘルプ, 各当事者に提供することができるカウントです。LVMH は、優秀な在庫が、本当に複数の溝を必要とする、ボードの周り豪華なキャプチャ巨大な提供をする必要があります資金の上昇を返します投資商人に。エルメス財布に関連付けられている聞いたことがない場合それだけでなく、書籍の対象としない、"豊かな有名な維持と"今日のエリート現代の文化のラベル。
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