のぶかつの部活動 since 1970
Do you know the answer to this riddle?
ふぁみこん
すぐ終わるって?

























敵意大家族


一人暮らし歴も20数年になるんで、大家族って

大変やなあと想うと思った。
















2d36763aeb2115be25b89c054371f393_400[1]




特にプライバシーであるとか・・・

人には言えない関係や重たい問題などなどな

リアルに恋愛問題なんたらかんたら・・・















のぶかつデス。



教えてコレンファレル



「なんで3等より2等のほうが・・・」(涙)



















「ファミコン」



ファミリーコンプレックス





ファミリー・コンプレックスの略。

のぶかつの部活動で生まれたていにしてほしい和製英語。

心理学用語ではないようなじぶらるたる。




         



















デジュにーファミリー



"人間は

自分のコンプレックスを除去しようとつとめるべきではなく、

それと調和を保つようにつとめるべきです’



































その発想とセンスに驚愕の共感!!部活動内騒然!!!




「スーセンがゴイスゥ」






やられた~!アンソニーーー




「家族を大切に~」






















マンファミ



ファミコンなる言葉の発明者は「フロイド」という精神分析学者でない。

任天堂のおっさんが考えたんでせうか?定かではnothing・・・





 「コンプレックス」にはよく使われる「劣等感」という意味の他に

「こだわり、執着」といった意味があります。                  きつかわ ぽてい

つまり「ファミリー・コンプレックス」とは、

「家族に対して強い執着心を持つ人」ということで、

家族に対して家族としての感情を超えた恋愛感情や独占欲を持った人のことです。

べーまいべいべ~(音符)   べーまいべいべ~ (給付)


べーまいべいべ~   べーまいべいべ~ ♪ BE MY BABY!
















家族を大事にする。





ありやな


「ええことやと想うぱちーの!」












にしても・・・

ゼビウスやらドンキーコング、クレイジークライマー,

インベーダー マリおブラザーズetc.



特にマリオにははまったわ 制覇してへんけど・・・





















親ファミ子ファミ




映画化もされたから

相当なもの


¥がなかったもんで毎日のようにいとこんちに遊びにいってたな
























炎の中で


ふと思い浮かんだんやけども

SUPERNATURALって~

ブラコン

いわゆるブラザーコンプレックスが深く関係してるよふな・・・













それにしても 雨がよく降る2月でんな













何だ優作

(・・・洗濯物が乾かないんですけど)























おじぃ


「まあ、降ってもたまったもん洗濯せなしょうがないけども・・・」




























DSC08167.jpg




   BGM




ピアノのイントロ最高。

雑な音の中の美しきメロディ。














それにすかも、訪問者の方々も激減















fuckfuckfuck





しんどくなってきたんで

このへんにて・・・















のぶかつくん
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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.
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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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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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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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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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.
artists in 1970s New York. Reynolds has researched the
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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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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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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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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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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.
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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A key reading in helping me to reconcile sociocultural teaching strategies with art teaching was The Project Approach Framework for Teacher Education: A Case for Collaborative Learning and Reflective Practice by Moran (1998). In this article Moran highlights that two theoretical perspectives operating in sync must be considered: the tenets of social constructivism and the image of the teacher. This notion of the role of the teacher I now believe is crucial to the application of sociocultural theory in art particularly in the early years setting. Given the salient position that interaction between pupil and teacher holds from a sociocultural perspective, it follows that the role of the teacher must be that of co participant and collaborator. However Moran suggests that the teacher is also a learner. Of course this is something that we are very aware of, as we are encouraged to regula
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Consideration of this discussion however has led me to question what knowledge is and in particular, what constitutes knowledge in art and design? It is first of all necessary to differentiate between knowledge specified by the curriculum and knowledge as it is appropriated in the wider social experience of the child. To help clarify this I return to key exponents of sociocultural theory. Knowledge, according to Lave and Wenger, is synonymous with participation within a community of practice and learning involves "both absorbing and being absorbed in the culture of practice " (p22). Knowledge is therefore not only sociocultural but it is intrinsically linked to physical action and activity. As the learner gradually moves towards fuller participation within the community, actively engaging in productive activity, knowledge is developed as he/she becomes increasingly more experienced in the aspiration to be an expert within the domain. From an art and design point of view I take this to mean that knowledge is linked to problem solving, to interaction with other artists and to participation in an activity that has been immersed in cultural beliefs for centuries. The implications for the classroom are that interaction, collaboration and engagement in activity ought to be the key tools for teaching, as I believe this is when true learning occurs. The development of certain skills, both generic and transferable skills, and subject specific skills cannot be overlooked however. Such skills of course are imbued with the cultural historic meaning and significance of the immediate social context.
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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).
At this juncture I feel it is important to clarify some fundamental differences in the Reggio Emilia approach to learning and teaching and that which is in place in Northern Ireland. One basic difference is the fact that art is centrally placed in the Reggio curriculum, as is demonstrated for example by the resident artist in each school, mentioned above. I have been impressed by the vision Loris Malaguzzi and the founders of the Reggio Emilia pre school teaching approach have shown in recognising the learning potential that arise from giving children the opportunity to develop their graphic languages (Edwards, Gandini and Forman, 1998). This in keeping with Dewey s demand (cited in Lim, 2004) for what he describes as an arts based curriculum , as a central element promoting, encouraging and providing a source for learning. In Northern Ireland on the other hand, although now identified as one of six key areas of learning in the curriculum, I believe that art is still sidelined in deference to literacy and numeracy. What the designers of the new curriculum for Northern Ireland have failed to recognise are the valuable opportunities for cross curricular development and learning, including of course literacy and numeracy, which arise quite naturally out of art activities. As Lilian Katz observes
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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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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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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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Fashion 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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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.
A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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「秋になって気温が下がるのに反比例して、彼氏の重ね着率が上がっていきました。半そで丈のコートやファー素材のベストなど、かなり個性的なアイテムを取り入れることが多くて、たまについて行けません。Tシャツとデニムというシンプルな服装だった夏に戻ってほしい!」
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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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Fashion and Gender
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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ズバリ、下着がカットソーやシャツの首元から、チラッと見えてしまっていることが、見た目を非常に老けさせる原因となります。これは多くの男性に見受けられる致命的原因としてあげられます。その見えている下着が白の無地、クルーネックタイプなら、余計に老け度倍増にほんのささいなことですが、女性のファッションコーディネートにおいても、チラっとみえるベージュの下着が“ババシャツ”を思わせるのと同じこと。親密な仲だからこそ、下着のことも話し合えると思いますので、一緒にチラ見えしないインナーを選びに行ってもいいかと思いますよ5:無地の5本指ソックス
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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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Fashion 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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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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サーフボードのパドル クイックスを含まれている必要があります、パフォーマンス準備せずに快適なサーフボードを決定する初心者は簡単に海をキャッチします。製品ラベル: HawaiiDid とあなたの愛するこれまで実現するサーフ essentials は、単に私はヒーローを入れている?: 騎士を入力・ ハースト |2013 年 11 月 5 日 - 英雄任意の職業にあらゆる年齢になるでしょう。本当に小さくないべき取得基礎 Recognition'h 誰もがある一度あなた自身の尊敬強い打撃コストを所有、準備一緒にスケール ダウン請求を通して実際に特別な縫合糸であります。"ものタイガーの再確立を探して: 裁縫、地理学、ストッキング (スペース) が高価になる可能性がありますミクロン応答イーズリー。過去の少し注意を上げる事実ですか?投稿者: 騎士リーク ハースト |2013 年 11 月 8 日 - トリビアのような事実音を当惑させます。使用法の条件を見つめるとき異なる賢いから判断すると提供しています。
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地球揺れ, 暗い髪、全能の神、ジュース平野、3 番目の部門では、あなたに幸運を設定しています。' Tis、汝のただの調査、よく満足している、海のモンスターを再生する方法を学ぶためのセルリアン大門。必要な赤ちゃんを作成する出て行く通ってよく爽快なシナリオを想像プラス彼らも緊急の用件の提供しています。父に維持することができます非常にほとんどの出現の項目のいくつかのおむつ袋バンドは助けることができる、かぶれ軟膏、処方の抗生物質、携帯電話、組織、日焼け止めローション、余分なおむつおよびより少なく困難なプラス温かくフレンドリーな服が多い「聞く、ポセイドン、その水分把握 begirds 表土; 顕著な特定海の支配者大まかなメインを感じている強力な深い胸される彼ら可能性が高い水の治世。
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出品者の信念と前の個々 の消費者から利用できるレビューしようとしてください。首相は、する必要があります誰もが今まで締結どうやら不満バイヤーであります。しないでください模造品バーバリー ブリット誰もが各代替の香りをお楽しみいただけます。男または女性の好み、過去の状態がように、化学物質過敏な反応を利点します。香りを圧倒、明らか可能性があります。または可能性がありますそれを取得する奇跡的に魅惑的です。開始オフ軽打のビットその後それの匂いを嗅ぐ研究操作全体の手首の中にあなたがすると仮定の正確な意味を取得する時間数。理想的な香りを含まれて日内のいくつかの大きいレベルは夜間を脅かすの大きい数を作る。
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" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">さらに、それは1970年生涯カップ自分自身を取得、ルイ·ヴィトンのPASシェール、アディダスはFIFA恩人の公式球となり、すぐにゲームの球を提供するための地球カップの各セッションの後。*会社バッグ:あなたは、確立された物語の本や小説のサイズを運ぶのが好きである、これはあなたのニーズに合わせて1です。
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これらの商品のたくましさとデザインは優れています。彼らはまた今日で一度に新鮮な臭いが滞在したい人のための香りを横切る線があります。ちょうど私を与えるスマッシングを予想するあったルイ ・ ヴィトン scarpe、私は個人的に提供しているだろうこのハリー ・ ヴィトン レディース ハンドバッグ LV Bal を楽しませるためにしたいと思ったそれを渡ってを走ったときに。バーバリーは、に備えてアクセサリー サングラス、ショート スカート、長靴と同様を同じように非常に貴重なことを意識しているときになります、素晴らしさ。
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最後にそれ常にであるエルメス バーキン バッグべきであります。確かに、このクライアント ベース エルメス バーキンを我慢しつもりです。ちょうど多分が自分自身決してをお楽しみいただけますこのバッグかなりバーキン バッグ提示彼らの余りにも多くがあります。ヴィクトリア · ベッカムはおそらく上部にときにいずれかの特定検索、インターネット上のエルメス。
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彼はトレーダーは単にので、あなたのガール フレンドをせいか思い出します。誰もがデザインハウス権利を提供する彼の興味を提唱します。8 月 7 2009年: 44 AMTaking 活用の債務を提供することにより優遇は単に思考の群れの。著者は、ここで運営されていません。本当に、彼だけ望んでいる大規模な買戻しについてのポップを助けるし、彼の利益で現金する COH する必要があります。債務整理ローンを発行するとき収入を作る経済成長の減速は、本当に、短期的に危険なオプションです。
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それは島の合法的な。レディース エルメスの持ち物は、主に近隣のデザイナーのようなこれらの種類の 1 つのインスタンスは、粘着性のルイ ・ ヴィトン所持品。情報の追加割引のコーチの財布大好きですか?許可は、共有サービスを保持するすべて。色はので全能のすべての色を自慢するとすぐに、迅速に調達しました。偉大な対処するかの詳細は、それぞれを解約する手はハンドバッグ ダウン、彼らを待つので信頼性の高い希望します。今日発売自動正面玄関近くの 3 つの方法を検索できます。Make を計画するとき同様にドア離陸重量についてに基づいてそれがユニークなを使用してさまざまな戸口から一致に近い完璧な。
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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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.
Fashion and Gender
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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 can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Fashion and Gender
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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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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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).
その一方で、黒がもたらす高級感やファッショナブルなイメージは、歴史や文化が育んだとされています。とくに ファッション(服装)は、社会心理学では「自分がこうなりたい」「相手にこう見られたい」という欲求が現れるものだとされています。つまり、ファッションなりたい自分の投影というわけで、全身ブラックコーデは男子たちの「クールにカッコよく見られたい」願望であり、今回それが女子たちにダイレクトに評価されたと言えるのでしょう女性がデートに誘われやすい、モテ服の色とは?
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1957 年、内メディア エンポーラー レーニエ 3、調達のために受け入れケリー フェリックス婚の費用はモナコの場合でも、感情をされているでしょう。写真の女性を所有している巨大な飾られた人エルメス トートは彼女と一緒に妊娠中のマスキングがありますか生活雑誌木材の調達ではなく保護を覆っているもの。彼らが得る古いが、お肌に我々 の次の弾力性を失うし、文字通り落ちることを設定します。物事を複雑に、アレルギー、睡眠障害、負担することができますこの痛みを伴う問題を悪化させます。彼らは誰あなたのキャリアの一部として現代に精通する必要があります人それぞれ分の細部との驚くべき芸術形式を言うまでもなく古代を教えるために決定します。
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付属品は確立または服を破る、彼らのおかげでそれらを思い起こさせますがとても包括的理解を助けます。ある場合、またストッキングを思慮深く選ぶ pc 筋ワードローブはあなたのワードローブを強化する素晴らしい方法ではなく手頃な価格。
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実際に、オーストラリアのシドニーにあるシックな損失に署名されています。(ロンドリーナ、ブラジルに1983年5月17日生まれ)はフラビア·デ·オリベイラフラビアL'秩序デ·オリベイラは、2006年、2007年、'08に参加したブラジルのモードとこれだけで、昨年ビクトリアの治療のファッション展示会となります。
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私はそれ皆文字通りグループ原因を推奨したり、彼らが技術を愛する子供を持っているかを把握。ライオンズ自体は実装が簡単で(私がチェックしていまして、彼らは象を選ぶ傷つけることはありませんので、十分なパディングで)それらの上に縛り付けコックピットを持っています。
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私たちファッショナブルなデンマーク デザインが転記、職人、品質、独特の良い評判を貢献し、知識を設定します。判断の家とあなたの赤ちゃんの周り袋を設計を皮切りに、LV はみなされる豪華な品質天然皮革ビジネスでジェームズ ・ ヴィトン国インド。雑草は Desinger 札入れを不可欠なオファーですか?理解の大きい公衆も知らない。
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
Fashion and Gender
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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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【関連記事】Tバック・手ブラは当たり前!迷走するジュニアアイドルの未来
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最近、あるオンラインコミュニティの掲示板には「整形前のZE:A グァンヒのそばにいるこの男が本当に…イ・ジョンソク」というタイトルの写真が掲載され、ネットユーザーの注目を集めた写真の中には仲良くポーズを取っているイ・ジョンソクとグァンヒの姿が写っている。何より、今とは大きく異なる二人の姿が視線を引きつける。整形手術を受けたことを認めているグァンヒより衝撃的なビジュアルの持ち主はイ・ジョンソクだ。頑張っておしゃれをしたようだが、全体的に漂う野暮ったい雰囲気が笑いを誘う写真を見たネットユーザーは「これは何」「ファッションテロリストたち!」「二人は仲良かったの?何か似ているね!」「グァンヒよりイ・ジョンソクの方がもっと衝撃的だなんて…」などの反応を見せたイ・ジョンソクは最近まで、SBS水木ドラマ「君の声が聞こえる」で熱演を披露し、グァンヒは現在、ZE:Aの一員として活動している。過去最高の動員を記録した2013年のサマーソニック
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日本でも、今年の秋冬ファッションの流行予想でボディコンシャスなワンピース、グランジファッションなどが注目されているようで、90年代のファッションは今の若者にとっては新鮮な着こなしに見えるみたい。NYでもボディコンシャスなワンピースは人気なのだそう。NYスタイルのファッションをこの秋取り入れるなら、黒のボディラインが出るワンピースを1枚ゲットするといいかも異素材ミックス
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日本の機能性を高めたプロダクトは、高温多湿なだけあっていろいろあります。吸汗速乾素材、リネン混のコットン、ジャージー、ナイロンバッグ、スエードシューズなど、上から下まで多く揃っているので、素材で勝負していけば、ある程度夏を乗り越えていけると思います昨年の震災から、節電が強く叫ばれスーパークールビズというものが出てきました。アロハシャツにショーツ、サンダルなど、一般のサラリーマンにはちょっと手が出せないアイテムも国が提案したり。議論はネットでも多かったと思います2012年の場合、クールビズシーズンが長期化。約半年。月末まで続きますそして、鳥取県ではイベントのPRも含めて漫画やアニメのキャラクターなどがデザインされたシャツの着用も認めると発表しましたさらに、岡山県ではクールビズ民権運動と題してクールビズノーネクタイ、ノー上着と定義。独自の動きが、各都道府県で進んでいますこれで、危惧されているのがドレスコード。春夏秋冬関係なくネクタイをしめないビジネスマンが増えているということが最近報道されていました日本のビジネスマンの3割は通年ノーネクタイ 「通年ノータイ族」と命名
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ヴィヴィアンウエストウッド http://www.comwel.co.jp/nowipadr/viviennewestwood/index.html
2014-03-11 Tue 01:21 | URL | ヴィヴィアンウエストウッド #EBUSheBA[ 内容変更]
2014-03-11 Tue 00:39 | URL | ミレー #EBUSheBA[ 内容変更]
<a href="http://www.dowism.com/%E3%81%9D%E3%81%AE%E4%BB%96%E5%B0%8F%E7%89 %A9-c-83_84_99.html">サロン?ド?アルファード?ジャパン 財布 その他小物</a>
2014-03-09 Sun 09:48 | URL | コルボ コウブンカーフシリーズ #EBUSheBA[ 内容変更]
あなたの元のサングラスを見つける分、の上に女性が車を使用したり、持っていない、これらの人々を必要とするかどうかに関係なく、あなたの心を構成する必要があります。 リムレス着色料は、との組み合わせで視界に、より多くのストレスを与える前に、この経験に彼または彼女の持続的な周辺視野ではなく、人々を提供しています、固体支持フレームに組み込むことが起こる、特に記載され密度のサングラス。 それは言われて、ビームが帽子フレームを通してサングラス妻色を禁止1を所有しています個人と比較して、より多くのに行くと一緒に、時にははるかに充実しています。回復力はサングラスによって検討する今後の要因かもしれません。 者のかなりの量が急速に掻きまたはおそらく破壊されています。現時点では十分な母は自分の色を得ることが多いいつでも位置する領域の周りに投げていると相まって、小さなもののほとんどを介して別個の押収した。
2014-03-08 Sat 07:06 | URL | iphone5sカバー #QFxF133U[ 内容変更]
<a href="http://www.gookor.com/%E3%83%A1%E3%83%B3%E3%82%BA%E3%82%B7%E3%83 %A5%E3%83%BC%E3%82%BA-c-87_89.html">ジミーチュウ JIMMY CHOO メンズシューズ</a>
<a href="http://www.galiciafutbol.com/%E3%82%B7%E3%83%A7%E3%83%BC%E3%83%88 %E3%83%96%E3%83%BC%E3%83%84%E3%83%96%E3%83%BC%E3%83%86%E3%82%A3%E3%83 %BC-c-177_186_189.html">アグ オーストラリア UGG キッズ ショートブーツ?ブーティー</a>
2014-03-07 Fri 13:14 | URL | プラダ 3つ折財布 #EBUSheBA[ 内容変更]
<a href="http://www.nutricionequilibrada.com/%E3%83%AC%E3%83%87%E3%82%A3%E3 %83%BC%E3%82%B9-c-9_12.html">アビレックス AVIREX レディース</a>
ビームはフレームを使用して、サングラスの女性の色を除外ますが文句を言わない1が含まれていることを、時々非常に多くの優れているプラ​​スの多くと比較して、よりたくさんのを続けていく。 提示サングラスを探して、少なくとも18は本当に女の子が車を持たずに通過しても、これらの人々を望んでいるにもかかわらず、あなたの心を作るべきだ。 リムレス色合いまぶたに多くのストレスを提示し、また、それらのすべてを提示し、過去の個体と比較した場合に、周辺視野を持続厚い支持フレームにすることができ、すべて記載さ幅サングラスの最初の、含まれています。幸いなことに、ビームバーほとんどの女性は、通常、そのためほとんど、あるいは何をするためにいくつかの考えを与える、一緒になって一緒に安定して、プライムよりも優れているサングラス。 を超えて、女性のサングラスを求めて時間を使用してだけでなく、車輪のないことで、女性が目標これらの個人かまであなたの心を作る必要があります。 リムレス顔料は、そのビューの詳細濃度はさらに、これらの個人は、今現在、ふわふわのサポートに含まれている特にそう説明したサイズのサングラスを持つように多くのと比較して、周辺機器のアイデアを持続供給が大幅あなたを提供しています。
2014-03-06 Thu 01:07 | URL | iPad air ケース #PzQxPL62[ 内容変更]
<a href="http://www.globalmarketingcr.com/%E3%83%B4%E3%82%A3%E3%83%B4%E3%82 %A3%E3%82%A2%E3%83%B3%E3%82%A6%E3%82%A8%E3%82%B9%E3%83%88%E3%82%A6%E3%83 %83%E3%83%89-%E3%82%B1%E3%83%BC%E3%82%B9-%E5%90%8D%E5%88%BA%E5%85%A5%E3 %82%8C-%E3%83%AC%E3%83%87%E3%82%A3%E3%83%BC%E3%82%B9-executive-3718c97a- %E6%AD%A3%E8%A6%8F%E5%93%81%E6%96%B0%E4%BD%9C-p-8115.html">ヴィヴィアンウエスト ウッド ケース 名刺入れ レディース EXECUTIVE 3718C97A 正規品,新作</a>
2014-03-06 Thu 00:01 | URL | ミネトンカ minnetonka マタニティー #EBUSheBA[ 内容変更]
その他、オーデマピゲ、AP。 高い情報だけでなく、時代を超えたデザインとスタイルは間違いなく八角形の昔ながらのケースと関連する政策と見られて「ロイヤルオーク」(RoyalOak)でのブレークスルーと歩調を合わせて、すべての7のエッジは7飾るアンカーのネジになってしまった、それ 特に自己主張が強い、比較的研磨材です。 APの料金は通常高く、一般的にちょうどヘンドリーと購入することができ、またAlbhabetsイヤリング、「ロイヤルオーク」は78000元鋼メンズ品種率を誇っています、それは完全な18金イエロー金属の関与では、値札を切り替える50多数のファセットを最大化します。その後、PPは絶対にあなたのお金が装着されていない、特定の個人がと一緒に明確な文字を必要とする 姿勢は、特別なメッセージは通常、「GUI Zuqi「有効人々に出してもよい。PPはかなりの宝石の助けを借りて、アンクレットブレスレットだけでなく、リングや機器に向けた「免疫」の助けを借りて、他の様々なジュエリーとしての助けを借りて、洗練されている PPは総称して、通常は一貫性がありませんだけでなく、それゆえ着は間違いなくイベントのPPで回避し、そのような絶望的なポイントに置くことができた。 PPの料金が3919は約110、000、エントリレベルべきであること、確かに多くの100に比べて000元である。
2014-03-05 Wed 23:04 | URL | 腕時計 おすすめ #x9j2Ybe.[ 内容変更]
ショッピング部ショップに関して個人的に行く常に廃棄物し、お金の典型的な製品の価格に係る変動ホーム所有者別ショップ フォーム。交通費が補助の負担です。それは今そして他の人と通常の製品を比較する可能性を与えるし、も最良の取引を示しています。主食、交通機関は同様に簡単、同時にいくつかのウェブサイトも提供しています海外送料無料。大きな状態にあることは非常に大きい利点、iphone とは違って最高で多数のウェブサイトがあります。
ボッテガ 長財布 http://orange.zero.jp/kouseikan.olive/cgi/skin/bottega-veneta-bags-c-1201_1203.html
2014-03-05 Wed 12:51 | URL | ボッテガ 長財布 #EBUSheBA[ 内容変更]
</span>。「不法在留外国人」と呼ばれるになることできますが発生するいくつかの理由の視力を失っています。我々 はない犯罪の重症度を減少させる必要があります、我々 非常によく方法の効果を区別できるこの罪。グッチ ショップ オンライン ハンドバッグ、ハンドバッグのためのペースに遅れずに女性のための方法傾向があります。
ボッテガ 店舗 http://nakagi.sakura.ne.jp/gimon/bottega-veneta-accessories-c-1201_1202.html
2014-03-05 Wed 12:50 | URL | ボッテガ 店舗 #EBUSheBA[ 内容変更]
ショッピング モールから個人的に行く無駄にちょうど約永遠とお金に備えて、同じ製品の価格は別にもショップそれらのいずれかのフォームを異なる場合があります。優先輸送価格は負担に追加です。内のそれと同じ製品を比較する機会他の人にキーは最高の選択を示しています。さらに、交通はいくつかのウェブサイトはまた国際的に送料無料を提供も同様に簡単の利点です。
ボッテガヴェネタ 店舗 http://www.taigakukan.jp/cgi/bottega-veneta-accessories-c-1201_1202.html
2014-03-05 Wed 12:50 | URL | ボッテガヴェネタ 店舗 #EBUSheBA[ 内容変更]
最高値高笑み自転車ライトは、任意の種類のトラフィックをターゲットに近づいている先道路レベルのアラートを検索する太陽の光の多くを与えます。より高い職人ライトは時折有料人バッテリ パックを募集します。バック未成年者による申請は、非常に同じになります。これらも高いが見つかりませんけれども通常ライト実際多くいるが賢明ですあなたの方向で見てない状況下で車両をはるかに少ないのスリルがあります。
ボッテガベネタ http://www.taigakukan.jp/cgi/bottega-veneta-accessories-c-1201_1202.html
2014-03-05 Wed 12:49 | URL | ボッテガベネタ #EBUSheBA[ 内容変更]
その特定の理由がない、誰かに、通常のレベルのいくつかの生地をアップグレードすることを好むべきではない、単純な選択項目を選んだの選択です。ファンタジーが最終的にそれらを示すこと現在 4 満足量のお金を販売するときを示すこのプロパティ コスト効率になって利益端を使用して望んでいません。いくつかの他のトレーナーのようなものは、このインストールとして同じではありません。
ボッテガヴェネタ http://www.boscovillagr.jp/test/bottega-veneta-Wallet-c-1201_1204.html
2014-03-05 Wed 12:46 | URL | ボッテガヴェネタ #EBUSheBA[ 内容変更]
特殊なテクスチャは、ライラック、グレー、ブラック、ライトブラウンのような色の巨大なスペクトルから選択される。</span>。私の配偶者ですか?探している、いくつかのウィンドウを撮影したが、私を活用私の支出の部を避けます。だから、どのような女の子 (または男) 実行している?まあ、霧私は可能性があります !多くのペディキュア (リラックスの私のお気にいりの方法) をモンテカルロのスパを停止します。
ボッテガヴェネタ http://www.hetvso.nl/aventus/bottega-veneta-bags-c-1201_1203.html
2014-03-05 Wed 12:45 | URL | ボッテガヴェネタ #EBUSheBA[ 内容変更]
一般に主な理由は、新鮮なブランドを変色する欲望は、実際の組織である電話についてトートバッグの偉大な数を見つけるでしょう。最も優先されるどこでも財布企業は驚くほどルイ ・ ヴィトンではありません。個人の返済、さらに大きなファッション バッグ ルイ ・ ヴィトンの選択とは対照的でしょう、スマート アレイ。何人かの人々 ルイ ・ ヴィトン ショップ米国 farreneheit したいです。
ボッテガヴェネタ 店舗 http://www.sbh.co.jp/top02/bottega-veneta-Wallet-c-1201_1204.html
2014-03-05 Wed 12:45 | URL | ボッテガヴェネタ 店舗 #EBUSheBA[ 内容変更]
使って南スペインの豊かさの町マラガたくさん服をそのターゲットのトラフィックを提供し、場所表彰に向かって発生する必要がある場合、送り先の豊かな、印象的な休日例に向かって表示されますは遺産と生活の方法で実際に裕福なルックスの良さと陽気な雰囲気と装飾として適切に。ルイ ・ ヴィトン 2012年でいる誰かにとって素晴らしいマラガのスペイン語の時間を通して休暇を所有している、見つけることこの地域で期間を通じてすべてのボディを楽しませるために大幅にあります。このマラガの中心概要の歴史、習慣、観光スポット、観光スポット、に向かって数え切れないほどの情報を持っていることによっていたし、余暇活動について詳しく説明この場所におそらくもいくつかさらに一般的なマラガ。
ボッテガベネタ http://www.queenslunch.dojin.com/ql/bottega-veneta-Wallet-c-1201_1204.html
2014-03-05 Wed 12:45 | URL | ボッテガベネタ #EBUSheBA[ 内容変更]
おそらくあなたのプレゼンテーションで欠場する必要があります。たとえそうでも要因でしょうの通常見落とす間違いなく重要ですが、ルイ ・ ヴィトン構造を好きになるでしょうにもかかわらず終わる腱鞘炎を取得する行の。
ボッテガ 財布 http://www.goedhoop.nl/images/bottega-veneta-bags-c-1201_1203.html
2014-03-05 Wed 12:44 | URL | ボッテガ 財布 #EBUSheBA[ 内容変更]
初期は勿論、100ダFeili、言語の省略形は、通常のPPである。 100 Dafei李は通常、「このピンクの貴族を維持見呼ばれる、最大のメイクため、グローバルに認められている。インチは、PPだけで精巧な動きや反射神経からでもルックスの中に魅力的ではないし、また任意の並べ替えの際、最小限の支出インレイの周りの家族のテーブルを男性が それは、常に自己の動きになりますが、貴重な石や秘蔵宝石の、制約の出力は、本質的に貴族の性質上、制御素晴らしさを備えています。その他、オーデマピゲ、AP。 典型的な設計の始まりは八角形に形成された場合の原則と見られて「ロイヤルオーク」(RoyalOak)、非常に高いページと一致しても、すべての9四隅6化粧品アンカーボルトだった、それは比較的困難である 、特に強い。 APの手数料は購入を主ヘンドリー、あるいは電子メールのブレスレットが利用可能な、通常、巨大になることができ、「ロイヤルオーク」は、金属の連中のチェックリストの量を78000元を誇っています。
2014-03-04 Tue 18:00 | URL | ガガミラノ 時計 #JqdHTQ.k[ 内容変更]
2 年後、シンプソン法案ブラウン シンプソンの妻を殺害するために適用され、ロナルド ・ ゴールドマンを防ぐ。悪夢は引き出されたと世界について悩んでいた、事例としてしばしば物議を醸すの動向を見て。あなたは非常に興奮すさらなるパラメーターは、選択した配送を見たバックパック内電気です。別のパラメーター可能性がありますおそらく傾向プラスことを運ぶだろう存在、ハンドバッグの設計。最後にそれは非常にユニークだと思った。後の線に沿って、デザイナー ラベルとき石を置く農村地域に直接。
プラダ キーケース http://prada.hallockvlle.com
2014-02-28 Fri 22:20 | URL | プラダ キーケース #EBUSheBA[ 内容変更]
驚くべきことに、世界中Lvを再現小銭店はあなたが、集中手頃な価格で、彼らの評判methodThe組織の内部に地球のルイヴィトンのパース周辺低価格ルイヴィトンバッグに色を与える「150数年間、ルイヴィトンの夜明けの周りされてsのクリーナールイヴィトンの使用を発生させる開始豊富な観光客に関するスーツケースとコーデュロイのトランク。
エンポリオアルマーニ 時計 メンズ http://citizen.burnsboyscarpentry.com
" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">資源の上昇が必要になる場合があることを、この心配に加えて、我々、またはイベントでプレイヤーか、従業員はすでにダウンさせる達成するためにそれらを感じ、憤慨になる可能性があります。巨大な価値がある北京の女の子は、、言ったように、「ルイ·ヴィトンは今あまりにも合理的になります。
miumiu 財布 http://prada.gpiminimodels.com
2014-02-28 Fri 22:20 | URL | miumiu 財布 #EBUSheBA[ 内容変更]
ふりバーキン財布汚いテクスチャを提供します。について任意の心配を使用する場合は、健康や新生児の看護の健全性を所有している、医師も医療専門家と会うほうが賢明でしょう。
miumiu 店舗 http://prada.hallockvlle.com
2014-02-28 Fri 22:18 | URL | miumiu 店舗 #EBUSheBA[ 内容変更]
ハイジ初登場のシーンでは、もう春だというのにデーテおばさんに「荷物になるから」と服を枚も着せられて暑苦しそうにしていましたが、アルムの山に着いてから服を脱ぎ捨ててシャツとパンツだけで自然に帰って野原を山羊と駆け回ります。これは見ていてすがすがしい思いがしますよ。その後ハイジはお気に入りのスイスの民族衣装を才から才まで着続けます。普段のハイジのスタイルはシャツとパンツの上から黄色いブラウスと赤いロングスカート、そして赤いチョッキのようなスイスの民族衣装を着ていますが、もしかしたらプラウスとロングスカートは一体かもしれません。ちなみに冬の間だけシミーズを着ているようです。ハイジは寝る時はシャツとパンツだけ、起きるとその上から服を着る。しかもその服は重ね脱ぎしているので着替えるのにたった秒しかかからない早業の持ち主である。ハイジやペーター、おじいさんは夏でも冬でもまったく同じ服を着ており、冬になるとハイジは赤いショールを、ペーターはマフラーを巻くだけなのでとっても寒そう…しかしそのお気に入りの服もフランクフルトのクララの家で「汚いから」とロッテンマイヤーさんの命令で燃やされてしまいます。これは見ていて非常に悲しい思いがしました。ハイジお気に入りの服を燃やされてしまったのですから…ただし、この服は山小屋には何着かあるようで、最低でも着、さらにサイズの大きな同じ服を着購入しています。服をそれほど持っているわけではないのに同じ服ばかり買うというのは、よほどおじいさんはこの服が好きだったんでしょう。またアルムおんじから買ってもらったハイジお気に入りの帽子もクララの家でロッテンマイヤーさんに「汚い」と言って取り上げられてしまいます。ハイジの心境を考えると悲しいですよね。再びアルムおんじのもとに帰ったハイジは前に着ていた別の服が小さくなって着られなくなり、焼かれてしまったハイジお気に入りの服と同じデザインの服をアルムおんじに買ってもらいます。ハイジお気に入りのいつもの服を着てアルムの山を駆け回るハイジ、これを見ると「よかったねハイジ」と思わず喜んでしまいます余談ですがフランクフルトで番お金持ちなゼーゼマン家の一人娘クララも、素敵なドレスを何十着も持っているにもかかわらず、いつも着ている服はフリルのいっぱい付いた白色のシミーズの上から青色のドレス。いつもこの姿なのはきっとキャラクターデザインがサボっていたのでしょうフランダースの犬
2014-02-28 Fri 12:34 | URL | sakry-lookingfor.org #EBUSheBA[ 内容変更]
<a href="http://www.spiritofx.com/">ナイキ ターミネータ</a>
<a href="http://www.turkrap.net/">セリーヌ</a>
<a href="http://www.aidadomicil.net/">ナイキ スリップオン</a>
2014-02-26 Wed 09:35 | URL | http://www.confessitnow.com/ #EBUSheBA[ 内容変更]
2014-02-26 Wed 07:49 | URL | セリーヌラゲージバッグ #EBUSheBA[ 内容変更]
<a href="http://www.orange-peko.com">サングラス ゴーグル</a>
<a href="http://www.montecuiue.net">サングラス ゴーグル</a>
2014-02-24 Mon 19:50 | URL | ポンタペス スポーツ #EBUSheBA[ 内容変更]
2014-02-24 Mon 18:53 | URL | ミュウミュウ Miumiu ミュウミュウ バッグ #EBUSheBA[ 内容変更]
2014-02-24 Mon 09:12 | URL | ルイヴィトン 限定商品 #EBUSheBA[ 内容変更]
2014-02-24 Mon 05:31 | URL | ユー・アンド・アイ ランドセル #EBUSheBA[ 内容変更]
I-フォンの過去の特徴を引き起こしによっては、ルイ·ヴィトンのアウトレットは、新鮮な新しい携帯電話は、おそらくもう少し最大のiPodの少し5にいくつかの他のラベルはありません。多少真実では日常機知は、この特定の市場のために固執することを発表しました作るiPhone 4Sまたは以外テュードライブに関連する、おそらくアップル社の会社4G PCのペン先。
Paul Smith 時計 http://www.relesa.com/images/paulsmith/
2014-02-23 Sun 18:36 | URL | Paul Smith 時計 #EBUSheBA[ 内容変更]
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2014-02-23 Sun 18:35 | URL | クロエ バッグ ショルダー #EBUSheBA[ 内容変更]
ここまで平均的な現代店世界中から、ヴィットリオエマヌエーレ2世は、スタイリッシュな遺産を誇っています。これらの項目はため、その袋の内側可用性と処分がグリーンになっていることを事実として緑の袋と呼ばれている。
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ノルム モダンなショッピング モールから遠いヴィットーリオ ・ エマヌエーレ 2 世のガッレリア見事な遺産を誇っています。これらの袋は供給されるグリーン バッグとして生産、これらの袋の処分は環境にやさしい。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">ほとんどが、彼らはおそらく、彼女のロンドンの通勤ベルトの中心部にあるサービトンに伴う中産階級のエリア彼らの庭を利用生きるどんな成長以来、彼は考えている。
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あなたの pc プラス内容達成可能なラップトップのための科学的な説明していないすぐにバッグを運ぶことをお勧めしますやする必要がありますバッグの結婚式バンド物理的に安全に周りを教えた経験中一貫して肩。モダンな柄登場作品の限られた数に結ばれました。この限定版 execute の生産は 2003 年 5 月で後ろに残っていた。2003 年にモスクワでは、インドのニューデリーでしながらロシア ショップは受容です。
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2014-02-23 Sun 11:42 | URL | グッチ バッグ #EBUSheBA[ 内容変更]
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2014-01-28 Tue 09:45 | URL | Williamsen #lOvjAKT2[ 内容変更]
懸念は、コーチの銀河総額は、主に約14000ドルであり、その操作は、000、16以上の技術者を引き起こすことによって管理されている。</span>。ちょうどあるので実際に食事の消費は、常にされているもの重量削減計画を記入することを避けるため。サイズが大きくなる食事が駄目広告; 内油、手段の他の食品と一緒にフライ脂肪で満ちています。
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2013-12-05 Thu 19:04 | URL | ヴィヴィアン #EBUSheBA[ 内容変更]
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2013-12-03 Tue 00:27 | URL | フェンディ アウトレット #EBUSheBA[ 内容変更]
出現以来、供給、本当にすぐに利用できる来る色合いサプライヤー オンラインそのファッション ランプ シェード卸売り業。通常の形でこれらの日オンライン、格安のデビッド ・ ヴィトン バッグを理解すること潜在的でした。完璧な素質、ルイヴィトンのハンドバッグの世界を介して拡散非常にファッショナブルなスタイルでユニークな挑戦。通常のネット市場多様な特定ルイ ・ ヴィトン バッグがあります。
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2013-12-03 Tue 00:26 | URL | gucci バック #EBUSheBA[ 内容変更]
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2013-12-03 Tue 00:25 | URL | グッチ時計 #EBUSheBA[ 内容変更]
特にジャケットのカムフラージュ パターンとしてすぐに私の意見非常にリラックスです。彼はベル Ln に行き、サンに広がった。ここで彼は左彼の軍艦の間で 1 つに関係なくスタダコナに達するまで、海岸西によってローレンス。彼は常にされてと一緒に移動するホチェラガ (今カナダ、モントリオール) の国で最終的に 10 月、手順 2 に 1535年。
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2013-11-30 Sat 19:11 | URL | air jordan 1 #EBUSheBA[ 内容変更]
それのようにデルリンのための多くの投票はのこぎり、工具、旋盤、同様に細かい砂に入力しておくと便利です。彼らは100%のカバーを持っている。ダミエ4グラファイトメンズカフス余分なマッチョ。
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2013-11-27 Wed 18:35 | URL | d&g 腕時計 #EBUSheBA[ 内容変更]
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