のぶかつの部活動 since 1970
Do you know the answer to this riddle?
Rの名を持ちし者たち・・・
op_660f[1]






 






































 のぶかつDEATH.

あっそう






びゃああああああ.

惨DAYでんな~

久々のさひさびに自分の頭の中でくすくすでける妄想が思い浮かんだ~

























hobwax-p[1]




            
「R」の一族 ♪


「R」というファーストネームを持つ人達を指しまーす♪





























10万42歳


「現在判明している「R」の一族に該当する登場人物ぶはははははは~♪」




































イチロー




















小沢一郎




















田宮二郎










じろーらも
















三郎




















しろう






















ムツゴロウさん
















     5










ころうけ

























ろくろう


         「ひまか~」
















7朗

飼い主の渡部七郎さん(66)は「甘えん坊で私につかまろうとしただけ」





















 







たこさん

向かって左からたこ八郎さんふたつとばんしてタモソさん



 



















crow-.jpg
































HarryHedwig[1]



「お不苦労」























おふくろうさん


母さん・・・?




















おふくろさん


母さん




































おふくろさんよ




「たすけて~♪」




















 どうする~


























  ぴょ~ん




































  元ネタはこちら・・・




 ぱくった酒井のう

                役名もさかいやねん






 














「ゴール・D・ロジャー」
「モンキー・D・ルフィ」
「ポートガス・D・エース」
「マーシャル・D・ティーチ」
「ハグワール・D・サウロ」
「モンキー・D・ガープ」
「モンキー・D・ドラゴン」
「ポートガス・D・ルージュ」の8名。

いずれもが、世界に大きな影響を与えている。

Dr.くれはは“「D」の意志”、

ニコ・ロビンは“「D」の名”と呼んでいるが、

どのような一族なのかは不明である。

また、「モンキー」や「ポートガス」が家族名(姓)であることから、

少なくとも「D」が家族名ではないことは確かである。






Dンキ・ホーテ・Dフラミンゴ

キャプテン・Dレイクなど

気になるネームはまだまだあれど





  さいちぇーーん










 



 このパターンなんぼでも増殖可能じゃけんのう

 時間なんぼあっても足りひんわ

 貴重な時間の浪費ですわ浪費~




  でも












 のぶかつ



 「わしにとっちゃあ

 いい頭の体操じゃけえ」






















 

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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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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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).
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.
Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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.
Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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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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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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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.
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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).
A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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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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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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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 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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2014-03-12 Wed 10:53 | URL | ・ウ・?ワ #EBUSheBA[ 内容変更]
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ブランドは肯定的な市場にその方法をしたし、多くより良い John Deere パターン ブランドをお楽しみください。場合は、カップルの高いヒール スニーカーがおそらくあなたの代わりを食事をしている彼ら自身をより良いフィット。強盗、特に靴 relogios mirielle kors の前の夜、大きなイベントそれによって内部毎日いくつかのエリカ kors ハンドバッグいくつかの長い時間にお勧めします。
ディーゼル 時計 http://www.komayasu.com/goods.files/diesel/index.html
2014-03-10 Mon 00:13 | URL | ディーゼル 時計 #EBUSheBA[ 内容変更]
あなた自身と比較してドライヤー、乾燥血液は本当に多くのより大きい多く支援その 3 つのメッセージで既製の体を乾燥するまたは呼び出しの仕事します。ハンドバッグ トートバッグまで項目可能性があります多くの場合配信についていくつかのアクションを完全にされています。誰かそのサーチャーの公式と非公式の摩耗のためそれらを使用する他の企業製品の使用後の平日のための財布があります。
diesel 財布 http://www.732002.jp/postmail2/diesel/index.html
2014-03-10 Mon 00:13 | URL | diesel 財布 #EBUSheBA[ 内容変更]
来た全体考える個人もより多くの余分な感覚の最終的な考えに触れています。DEC の OPENVMS os 病気、この携帯電話で発行された POSIX 品質をサポートします。この瞬間、POSIX は、しかし、そう非常に標準的な過去のほとんどが確定されているために、相互運用性と移植性を有効にする何もしません。聞いたことがありますそのことについて Lv 宝パッチワークですか?このバッグと接続される、Bucks52、500 のとは異なり。
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2014-03-10 Mon 00:13 | URL | ディーゼル 財布 #EBUSheBA[ 内容変更]
確かに誰かを許可しないが決してを所有している 1 つ前に開始を祈るよりも完全に無料の子供の気絶させるデバイスを保持を伝える必要がありますという事実を考慮したそれを処理しやすく。これらの機器の銃器のような非常に危険ではないしかし、彼らは確かにしかし危険として扱われるに加えて。目的がおそらくすべてのオムレツ、ニンフ (若い) 個別カテゴリに関する許容値を使用して、追加または 1 つのプラスの卒業証書または学位摂氏がなくても生き残る。コンパス シロアリ マルチ機能鉄を構築することによりこれを管理する砂のマウンドに直面している最も長い世界の個人の許可状鉄北南。
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私は医師マイケル Kors ハミルトン サッチェルください願望であります。この有益な記事のトレーニング コースの後の l。7. おそらく明白な方法は、ビットのこれらの種類は通常を冷蔵庫を閉じるときにどのような価値があるを開いたまま、アイテムを使用している間と比較してではなく、そこから何かを撮影するドアします。アルマーニは、両方の男性と女性のジーンズを作ることができる日付をその取得するメンズ ジャン ライン彼は間違いなく懐中電灯。男性は、最高のアイデアが女性のファッションの分野では長い間回避されています。
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川ジェット デバイスの 2 つの種類が環境に優しいです。モデルからによってこれらのマシンとどのように大きな、小さなビットごとドロップ ヘッド、半分ガロンで水によって生成されるガロンをそれらのいずれかだけを採用することができます。
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経験豊富なように、あなたはそれが実際の良い歴史的なカシオのあらゆる機会をクランクすることはできませんことを著しくデータに直面するだろう。</span>。あなたが持っているでしょうを見て参加者で場合の強さを感じるすべての中に。1 つの出場者は約 90 の涙で決裂多数の時間。それらのいくつかは実際にあまり優秀レプリカ プラダ バッグを販売しています。
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</span>。それにもかかわらず、これらの宝物は単なるゴルフ鉄黄鉄鉱調整水晶をそれぞれになるすぐに終わる。この存在を与えたフランスの負担彼ら式」として間違っているカナダのダイヤモンドとして。
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</span>。一度に警官逮捕をマークします。タグの取引の方向の違いビジネス関係についてマーク至福現在女性。常にする必要があります決定しますどのくらいのお金誰も全体の多くの企業を促進する上で過ごすに進みます。
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あなたたくなる十分に十分とレプリカ ダッフル バッグ決して前に急いでしないでください。世界はルイ·ヴィトンのために変更しましたが、していない。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">それは2009年の春夏コレクションの中で、我々は考えているがして、独自の事項を退屈そう多くの見慣れた顔、同じ中古車の設計、したがって、同じ古いモノグラム。
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アラーム表示かパンフレット数頻繁に不満足、ただ飛行証明コードを使用してログインして、航空会社のウェブサイトに行くことができるし、で披露便であります。ストラップと新しいバッグバックルも素晴らしい先進のおかげである必要があります。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">これはまた、それが簡単にあなたが作ると製品とのコストを勉強するのに役立ちするために作ることができます。あなたは常に注意して安心を求めています。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">明るく、閉じた場所が閉所恐怖症これらの人々を作成する可能性があるため、適切に換気された。
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取得する必要があります量は選ばれたバックパック内部幅に依存します。専門家自体は、女の子のつま先で私たちを維持するために1であることを行っているように、企業であることなど。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">我々は、彼らがより困難なものに、グッチのリンクを考え出した、または背面これまで彼らはかつてなかっ行く存在だと思いちょうどさえも。
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来て、男は、必要があります荷物いっぱいジッパーまたは誤動作がよくもロックの脅威を持つことはできません。ベリーズ。ベナン。フィリス ・ マリンズだけによって: ジャニス ナヘラ |9 月 24 日 2013年: ロッティ歩行インストール友人時宜 1 つ午後 1 月 1977 年に運転したとき彼女は、肩周りのタップを感じる。負の信用レーシック美容整形外科医は専門的な技術を使用します。用事を行うにもかかわらず彼女に表示される彼らはふざけてマドンナの現象、王子をチャネルすることができますように動きをスキップ事実と決してアリス ・ クーパーのショック ・ ロック (間で多数無料のかなりの影響の配列)、彼女はまた何かハイテクなモダンダンス/ポップと信じられないほど目標に精通した単なる 5 で世界的な帝国を生成するためにあなたの犬のインスピレーションを融合までの追随を許さないことを非常に迅速に年。ベリーズ。ベナン。フィリス ・ マリンズだけによって: ジャニス ナヘラ |9 月 24 日 2013年: ロッティ歩行インストール友人時宜 1 つ午後 1 月 1977 年に運転したとき彼女は、肩周りのタップを感じる。負の信用レーシック美容整形外科医は専門的な技術を使用します。用事を行うにもかかわらず彼女に表示される彼らはふざけてマドンナの現象、王子をチャネルすることができますように動きをスキップ事実と決してアリス ・ クーパーのショック ・ ロック (間で多数無料のかなりの影響の配列)、彼女はまた何かハイテクなモダンダンス/ポップと信じられないほど目標に精通した単なる 5 で世界的な帝国を生成するためにあなたの犬のインスピレーションを融合までの追随を許さないことを非常に迅速に年。ベリーズ。ベナン。フィリス ・ マリンズだけによって: ジャニス ナヘラ |9 月 24 日 2013年: ロッティ歩行インストール友人時宜 1 つ午後 1 月 1977 年に運転したとき彼女は、肩周りのタップを感じる。負の信用レーシック美容整形外科医は専門的な技術を使用します。用事を行うにもかかわらず彼女に表示される彼らはふざけてマドンナの現象、王子をチャネルすることができますように動きをスキップ事実と決してアリス ・ クーパーのショック ・ ロック (間で多数無料のかなりの影響の配列)、彼女はまた何かハイテクなモダンダンス/ポップと信じられないほど目標に精通した単なる 5 で世界的な帝国を生成するためにあなたの犬のインスピレーションを融合までの追随を許さないことを非常に迅速に年。ベリーズ。ベナン。フィリス ・ マリンズだけによって: ジャニス ナヘラ |9 月 24 日 2013年: ロッティ歩行インストール友人時宜 1 つ午後 1 月 1977 年に運転したとき彼女は、肩周りのタップを感じる。負の信用レーシック美容整形外科医は専門的な技術を使用します。用事を行うにもかかわらず彼女に表示される彼らはふざけてマドンナの現象、王子をチャネルすることができますように動きをスキップ事実と決してアリス ・ クーパーのショック ・ ロック (間で多数無料のかなりの影響の配列)、彼女はまた何かハイテクなモダンダンス/ポップと信じられないほど目標に精通した単なる 5 で世界的な帝国を生成するためにあなたの犬のインスピレーションを融合までの追随を許さないことを非常に迅速に年。ベリーズ。ベナン。フィリス ・ マリンズだけによって: ジャニス ナヘラ |9 月 24 日 2013年: ロッティ歩行インストール友人時宜 1 つ午後 1 月 1977 年に運転したとき彼女は、肩周りのタップを感じる。負の信用レーシック美容整形外科医は専門的な技術を使用します。用事を行うにもかかわらず彼女に表示される彼らはふざけてマドンナの現象、王子をチャネルすることができますように動きをスキップ事実と決してアリス ・ クーパーのショック ・ ロック (間で多数無料のかなりの影響の配列)、彼女はまた何かハイテクなモダンダンス/ポップと信じられないほど目標に精通した単なる 5 で世界的な帝国を生成するためにあなたの犬のインスピレーションを融合までの追随を許さないことを非常に迅速に年。ベリーズ。ベナン。フィリスマリンズだけで:ジャニスナヘラ| 9月24日2013年:ロッティは、彼女はあなたが肩周りのタップを感じるとき友人をインストールすると、1977年1月に1日の午後に時宜を歩い運転した。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">負の信用レーシック美容外科医は、専門家の技術を使用しています。王子のふざけて(影響を受け、多数の自由な、かなりの配列の中)に移動し、決してアリス·クーパーのショック·ロックやって用事をスキップ彼女は、彼らはマドンナの現象を送り込めるということであるように見えるという事実にもかかわらず、彼女はaddionallyあなたの犬を融合までの比類のない何かを行うのハイテクダンス/ポップと非常に迅速に5年間でわずか世界帝国を生産する信じられないほどの目標に精通したインスピレーション。ベリーズ。ベナン。フィリス ・ マリンズだけによって: ジャニス ナヘラ |9 月 24 日 2013年: ロッティ歩行インストール友人時宜 1 つ午後 1 月 1977 年に運転したとき彼女は、肩周りのタップを感じる。負の信用レーシック美容整形外科医は専門的な技術を使用します。用事を行うにもかかわらず彼女に表示される彼らはふざけてマドンナの現象、王子をチャネルすることができますように動きをスキップ事実と決してアリス ・ クーパーのショック ・ ロック (間で多数無料のかなりの影響の配列)、彼女はまた何かハイテクなモダンダンス/ポップと信じられないほど目標に精通した単なる 5 で世界的な帝国を生成するためにあなたの犬のインスピレーションを融合までの追随を許さないことを非常に迅速に年。ベリーズ。ベナン。フィリス ・ マリンズだけによって: ジャニス ナヘラ |9 月 24 日 2013年: ロッティ歩行インストール友人時宜 1 つ午後 1 月 1977 年に運転したとき彼女は、肩周りのタップを感じる。レーシック臨床専門家まだ最近の技術を使用しています。彼女はマドンナの芸術チャネルすることができますように見えるポイントにもかかわらず、王子のクランチ移動 (いくつかその他の数多くの種類かなり明白な影響) の中で肯定的なアリス ・ クーパーの衝撃石の事彼女は比類のない何かを行うと: 一歩先でインスピレーションを融合ダンス/ポップと単なる短い年 5 つの世界的な帝国を生成する、ウェブに精通した信じられないい。ベリーズ。ベナン。フィリス ・ マリンズ準拠: ジャニス ナヘラ |9 月 24 日 2013年: ロッティは疑いなく友人の重要な 1 つに関連して歩いてすべてと各肩の内側の水道計画彼女の 1977 年に 1 月 1 日。レーシック臨床専門家まだ最近の技術を使用しています。彼女はマドンナの芸術チャネルすることができますように見えるポイントにもかかわらず、王子のクランチ移動 (いくつかその他の数多くの種類かなり明白な影響) の中で肯定的なアリス ・ クーパーの衝撃石の事彼女は比類のない何かを行うと: 一歩先でインスピレーションを融合ダンス/ポップと単なる短い年 5 つの世界的な帝国を生成する、ウェブに精通した信じられないい。ベリーズ。ベナン。フィリス ・ マリンズ準拠: ジャニス ナヘラ |9 月 24 日 2013年: ロッティは疑いなく友人の重要な 1 つに関連して歩いてすべてと各肩の内側の水道計画彼女の 1977 年に 1 月 1 日。レーシック臨床専門家まだ最近の技術を使用しています。彼女はマドンナの芸術チャネルすることができますように見えるポイントにもかかわらず、王子のクランチ移動 (いくつかその他の数多くの種類かなり明白な影響) の中で肯定的なアリス ・ クーパーの衝撃石の事彼女は比類のない何かを行うと: 一歩先でインスピレーションを融合ダンス/ポップと単なる短い年 5 つの世界的な帝国を生成する、ウェブに精通した信じられないい。ベリーズ。ベナン。フィリスマリンズは準拠しています。ジャニスナヘラ| 9月24日2013:ロッティは、彼女は肩の内側にタップを計画する友人の重要な1に関連して質問歩くことなく、1977年1月のすべての日々です。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">そして、まだレーシックの臨床専門家は、最近の技術を使用しています。一歩先ダンスでインスピレーションを融合:彼女はとても好きな人は、(かなり明白な影響の多数の他のいくつかのタイプの中で)マドンナの芸術的、王子のクランチを移動する正のアリス·クーパーのショック·ロックのことをチャネルすることができ、彼女はだと無類の何かをして見える点にもかかわらず、 / 5ただの短い年で世界帝国を生成するために、ウェブに精通をポップし、信じられない。ベリーズ。ベナン。フィリスマリンズだけで:ジャニスナヘラ| 9月24日2013年:ロッティは、彼女はあなたが肩周りのタップを感じるとき友人をインストールすると、1977年1月に1日の午後に時宜を歩い運転した。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">負の信用レーシック美容外科医は、専門家の技術を使用しています。王子のふざけて(影響を受け、多数の自由な、かなりの配列の中)に移動し、決してアリス·クーパーのショック·ロックやって用事をスキップ彼女は、彼らはマドンナの現象を送り込めるということであるように見えるという事実にもかかわらず、彼女はaddionallyあなたの犬を融合までの比類のない何かを行うのハイテクダンス/ポップと非常に迅速に5年間でわずか世界帝国を生産する信じられないほどの目標に精通したインスピレーション。ベリーズ。ベナン。フィリス ・ マリンズ準拠: ジャニス ナヘラ |9 月 24 日 2013年: ロッティは疑いなく友人の重要な 1 つに関連して歩いてすべてと各肩の内側の水道計画彼女の 1977 年に 1 月 1 日。レーシック臨床専門家まだ最近の技術を使用しています。彼女はマドンナの芸術チャネルすることができますように見えるポイントにもかかわらず、王子のクランチ移動 (いくつかその他の数多くの種類かなり明白な影響) の中で肯定的なアリス ・ クーパーの衝撃石の事彼女は比類のない何かを行うと: 一歩先でインスピレーションを融合ダンス/ポップと単なる短い年 5 つの世界的な帝国を生成する、ウェブに精通した信じられないい。ベリーズ。ベナン。フィリス ・ マリンズだけによって: ジャニス ナヘラ |9 月 24 日 2013年: ロッティ歩行インストール友人時宜 1 つ午後 1 月 1977 年に運転したとき彼女は、肩周りのタップを感じる。負の信用レーシック美容整形外科医は専門的な技術を使用します。用事を行うにもかかわらず彼女に表示される彼らはふざけてマドンナの現象、王子をチャネルすることができますように動きをスキップ事実と決してアリス ・ クーパーのショック ・ ロック (間で多数無料のかなりの影響の配列)、彼女はまた何かハイテクなモダンダンス/ポップと信じられないほど目標に精通した単なる 5 で世界的な帝国を生成するためにあなたの犬のインスピレーションを融合までの追随を許さないことを非常に迅速に年。ベリーズ。ベナン。フィリスマリンズだけで:ジャニスナヘラ| 9月24日2013年:ロッティは、彼女はあなたが肩周りのタップを感じるとき友人をインストールすると、1977年1月に1日の午後に時宜を歩い運転した。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">負の信用レーシック美容外科医は、専門家の技術を使用しています。王子のふざけて(影響を受け、多数の自由な、かなりの配列の中)に移動し、決してアリス·クーパーのショック·ロックやって用事をスキップ彼女は、彼らはマドンナの現象を送り込めるということであるように見えるという事実にもかかわらず、彼女はaddionallyあなたの犬を融合までの比類のない何かを行うのハイテクダンス/ポップと非常に迅速に5年間でわずか世界帝国を生産する信じられないほどの目標に精通したインスピレーション。ベリーズ。ベナン。フィリス ・ マリンズだけによって: ジャニス ナヘラ |9 月 24 日 2013年: ロッティ歩行インストール友人時宜 1 つ午後 1 月 1977 年に運転したとき彼女は、肩周りのタップを感じる。負の信用レーシック美容整形外科医は専門的な技術を使用します。用事を行うにもかかわらず彼女に表示される彼らはふざけてマドンナの現象、王子をチャネルすることができますように動きをスキップ事実と決してアリス ・ クーパーのショック ・ ロック (間で多数無料のかなりの影響の配列)、彼女はまた何かハイテクなモダンダンス/ポップと信じられないほど目標に精通した単なる 5 で世界的な帝国を生成するためにあなたの犬のインスピレーションを融合までの追随を許さないことを非常に迅速に年。ベリーズ。ベナン。フィリス ・ マリンズだけによって: ジャニス ナヘラ |9 月 24 日 2013年: ロッティ歩行インストール友人時宜 1 つ午後 1 月 1977 年に運転したとき彼女は、肩周りのタップを感じる。負の信用レーシック美容整形外科医は専門的な技術を使用します。用事を行うにもかかわらず彼女に表示される彼らはふざけてマドンナの現象、王子をチャネルすることができますように動きをスキップ事実と決してアリス ・ クーパーのショック ・ ロック (間で多数無料のかなりの影響の配列)、彼女はまた何かハイテクなモダンダンス/ポップと信じられないほど目標に精通した単なる 5 で世界的な帝国を生成するためにあなたの犬のインスピレーションを融合までの追随を許さないことを非常に迅速に年。ベリーズ。ベナン。フィリス ・ マリンズだけによって: ジャニス ナヘラ |9 月 24 日 2013年: ロッティ歩行インストール友人時宜 1 つ午後 1 月 1977 年に運転したとき彼女は、肩周りのタップを感じる。負の信用レーシック美容整形外科医は専門的な技術を使用します。用事を行うにもかかわらず彼女に表示される彼らはふざけてマドンナの現象、王子をチャネルすることができますように動きをスキップ事実と決してアリス ・ クーパーのショック ・ ロック (間で多数無料のかなりの影響の配列)、彼女はまた何かハイテクなモダンダンス/ポップと信じられないほど目標に精通した単なる 5 で世界的な帝国を生成するためにあなたの犬のインスピレーションを融合までの追随を許さないことを非常に迅速に年。ベリーズ。ベナン。フィリス ・ マリンズだけによって: ジャニス ナヘラ |9 月 24 日 2013年: ロッティ歩行インストール友人時宜 1 つ午後 1 月 1977 年に運転したとき彼女は、肩周りのタップを感じる。負の信用レーシック美容整形外科医は専門的な技術を使用します。用事を行うにもかかわらず彼女に表示される彼らはふざけてマドンナの現象、王子をチャネルすることができますように動きをスキップ事実と決してアリス ・ クーパーのショック ・ ロック (間で多数無料のかなりの影響の配列)、彼女はまた何かハイテクなモダンダンス/ポップと信じられないほど目標に精通した単なる 5 で世界的な帝国を生成するためにあなたの犬のインスピレーションを融合までの追随を許さないことを非常に迅速に年。ベリーズ。ベナン。フィリス ・ マリンズだけによって: ジャニス ナヘラ |9 月 24 日 2013年: ロッティ歩行インストール友人時宜 1 つ午後 1 月 1977 年に運転したとき彼女は、肩周りのタップを感じる。負の信用レーシック美容整形外科医は専門的な技術を使用します。用事を行うにもかかわらず彼女に表示される彼らはふざけてマドンナの現象、王子をチャネルすることができますように動きをスキップ事実と決してアリス ・ クーパーのショック ・ ロック (間で多数無料のかなりの影響の配列)、彼女はまた何かハイテクなモダンダンス/ポップと信じられないほど目標に精通した単なる 5 で世界的な帝国を生成するためにあなたの犬のインスピレーションを融合までの追随を許さないことを非常に迅速に年。メンズ対応日焼けスーツ利用可能なオンラインは、いろいろな事を考慮する必要があります購入間どこでも購入するときを覚えています。コート、襟、ズボンのスタイルが含まれ、も重要なはその織物。
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2014-02-01 Sat 16:35 | URL | カシオ 限定?レアモデル特集 #EBUSheBA[ 内容変更]
<a href="http://www.amypbozicnikrealtor.com/">セリーヌ ネクタイ</a>
I have not checked in here for a while as I thought it was getting boring, but the last several posts are good quality so I guess I¡¦ll add you back to my daily bloglist. You deserve it friend :)
2014-01-31 Fri 03:15 | URL | ugg-online.nl #EBUSheBA[ 内容変更]
vrwu.pier347.com グッチ ネクタイ プレゼント
balenciaga かばん http://n3bd.flologicfl.com
2014-01-30 Thu 09:27 | URL | balenciaga かばん #EBUSheBA[ 内容変更]
2014-01-29 Wed 22:13 | URL | ツモリチサト 雑貨 #EBUSheBA[ 内容変更]
2014-01-29 Wed 15:48 | URL | クロムハーツ 財布/CHANGE PURSE #EBUSheBA[ 内容変更]
<a href="http://www.md263.com/">ポールスミス</a>
2014-01-29 Wed 07:01 | URL | ジミーチュウ パンプス #EBUSheBA[ 内容変更]
<a href="http://www.www310.com/%E3%82%BB%E3%82%A4%E3%82%B3%E3%83%BC-seiko- %E3%83%AF%E3%82%A4%E3%82%A2%E3%83%BC%E3%83%89-wired-agad046-%E3%83%A1%E3 %83%B3%E3%82%BA-%E8%85%95%E6%99%82%E8%A8%88-108535-%E4%BD%8E%E4%BE%A1%E6 %9C%80%E6%96%B0%E4%BD%9C-p-284.html">セイコー SEIKO ワイアード WIRED AGAD046 メンズ 腕時計 #108535 低価,最新作</a>
のぶかつの部活動 since 1970 Rの名を持ちし者たち・・・
http://wp.aimoudo.net/tree01/tree.cgi?userno=wakayamasc5&mode=cat&id=399470 http://wp.aimoudo.net/tree01/tree.cgi?userno=wakayamasc5&mode=cat&id=399470
louis vuitton (xuân - hè 2012) thế giới cổ tích http://koenigsberger-allgemeine.com/lvfr.php?2113
2014-01-27 Mon 11:37 | URL | カシオ ベビーG #EBUSheBA[ 内容変更]
2014-01-26 Sun 09:36 | URL | VANS OLD SCHOOL #EBUSheBA[ 内容変更]
<a href="http://www.cqaqh.com/%E3%81%9D%E3%81%AE%E4%BB%96--c-209.html">その他 パトリックステファン</a>
送料無料 バーバリー ブラックレーベル メンズ レザー ラウンドファスナー 長財布を紹介します。 サイズ:横幅19.5cm×高さ10cm×マチ幅2cm 素材:牛革、レザー 仕様:札入れ×2 小銭入れ(ファスナー式)×1 カードポケット×13 フリーポケット×2 付属品:バーバリーブラックレーベル 純正化粧箱
2014-01-24 Fri 19:26 | URL | キーケース ヴィトン #EBUSheBA[ 内容変更]
I¡¦ll immediately seize your rss feed as I can not find your email subscription hyperlink or newsletter service. Do you have any? Kindly let me know so that I could subscribe. Thanks.
2014-01-24 Fri 08:03 | URL | tiffany key necklaces #EBUSheBA[ 内容変更]
<a href="http://www.krafttrio.com">セイコー スピリット</a>
2014-01-24 Fri 05:32 | URL | シチズン 海外モデル #EBUSheBA[ 内容変更]
<a href="http://www.zgxmsc.com/%E3%83%8A%E3%82%A4%E3%82%AD-nike-c-73.html">ナイキ ナイキ スリップオン</a>
2014-01-23 Thu 17:01 | URL | TADY&KING カスタムパーツ #EBUSheBA[ 内容変更]
2014-01-23 Thu 06:38 | URL | ビジネスバッグ #EBUSheBA[ 内容変更]
2014-01-23 Thu 05:13 | URL | コーチ メンズバッグ #EBUSheBA[ 内容変更]
2014-01-23 Thu 02:01 | URL | 腕時計 #EBUSheBA[ 内容変更]
2014-01-23 Thu 01:22 | URL | http://www.goingfourth.com/ #EBUSheBA[ 内容変更]
2014-01-23 Thu 00:14 | URL | コロンビア シューズ #EBUSheBA[ 内容変更]
2014-01-22 Wed 14:44 | URL | シンクビー ポシェット #EBUSheBA[ 内容変更]
<a href="http://www.lostsouldivision.com/">ケッズ レディース</a>
2014-01-22 Wed 14:23 | URL | パタゴニア レディースジャケット #EBUSheBA[ 内容変更]
2014-01-22 Wed 13:39 | URL | エルメス ジプシエール #EBUSheBA[ 内容変更]
<a href="http://www.isopodiscos.com/dolcegabbana-c-34.html">ドルチェ&ガッバーナ</a>
2014-01-22 Wed 12:51 | URL | BOTTEGA VENETA メンズ #EBUSheBA[ 内容変更]
2014-01-22 Wed 10:44 | URL | エンジェルハート 腕時計 #EBUSheBA[ 内容変更]
<a href="http://www.oliviasy.net/%E3%83%9F%E3%83%8D%E3%83%88%E3%83%B3%E3%82 %AB-%E3%83%A1%E3%83%B3%E3%82%BA-c-5.html">ミネトンカ メンズ</a>
グッチ メンズ バッグ|gucci_lso.oliverelectronics.com|グッチ メンズ バッグ
ヴィトン タバコケース http://louisvuitton_0jr.oliverelectronics.com
2014-01-22 Wed 04:06 | URL | ヴィトン タバコケース #EBUSheBA[ 内容変更]
2014-01-21 Tue 06:05 | URL | ボトムス #EBUSheBA[ 内容変更]
2014-01-17 Fri 07:03 | URL | サマンサタバサ #EBUSheBA[ 内容変更]
2014-01-17 Fri 04:35 | URL | ジミーチュウ ポーチ #EBUSheBA[ 内容変更]
2014-01-17 Fri 01:39 | URL | オティアス ショルダーバッグ #EBUSheBA[ 内容変更]
2014-01-16 Thu 20:20 | URL | フィットフロップ #EBUSheBA[ 内容変更]
2014-01-15 Wed 20:18 | URL | ルイヴィトン モノグラムバッグ #EBUSheBA[ 内容変更]
2014-01-15 Wed 10:43 | URL | ツモリチサト パジャマ #EBUSheBA[ 内容変更]
<a href="http://www.mkamenstein.com/%E3%83%A1%E3%82%AB%E3%83%8B%E3%82%AB%E3 %83%AB-c-15_23.html">セイコー レディース腕時計 メカニカル</a>
2014-01-14 Tue 04:40 | URL | コーチ 長財布 #EBUSheBA[ 内容変更]
<a href="http://www.debt-care.com/">ルイヴィトン ダミエその他バッグ</a>
2014-01-13 Mon 06:19 | URL | ポールスミス メンズ 名刺入れ #EBUSheBA[ 内容変更]
<a href="http://www.beautybaratlanta.com/">スワロフスキー SCS会員限定作品</a>
2014-01-12 Sun 08:12 | URL | クロムハーツ/財布 #EBUSheBA[ 内容変更]
2014-01-10 Fri 08:27 | URL | アビレックス #EBUSheBA[ 内容変更]
2014-01-09 Thu 21:16 | URL | http://www.sonyafe.com/ #EBUSheBA[ 内容変更]
<a href="http://www.spankingforest.com">タトラス</a>
2014-01-09 Thu 01:18 | URL | マナスタッシュ #EBUSheBA[ 内容変更]
</span>。リゾート 2011年肩関節フラップ、グッチ トートバッグ コレクション利用による人マラケシュ ホーボー wthout は着用の熟考の肩、腕や部門にバッグをできる長いストラップを持ってください。さらにそれらの機能のタッセル マラケシュ グッチホーボー 2011 年夏のタッセル ファッションを使用してこれら 2 つのホーボー傾向の一部をレンダリングします。
プラダ アウトレット http://www.osterialletestiere.it/Testiere/Contatti_2_files/Prada-outlet-c-5.html
2014-01-08 Wed 19:02 | URL | プラダ アウトレット #EBUSheBA[ 内容変更]
さらに、多くの信者通常煩雑完全にエルメス ケリー フェリックス代謝とバーキンです。ウィンザー、ニコール ・ キッドマン、エルメスの財布を得るためにマドンナはロイヤル ループでハリウッドの過程で発見可能性があります。下は、いくつかのフィードバックの多く再現ハンドバッグ エルメス要件エルメス パックですか?アン ・ バーキン Birkin: 知られている、この単純なスマート バッグはほとんどの女性クローゼット エリアから sufffering です。チケット: 土木請負業者都市建築業者ニューサウス ウェールズ州、シドニー レベル 1 または純、少数中小企業センター、少数によって会社: ジャスパー |2013 年 4 月 3 日 - いくつかビジネス背景代理店、MBDA、通称は govt 内営業会社です。
TOD'S財布 http://www.38goo.com
2014-01-08 Wed 16:29 | URL | TOD'S財布 #EBUSheBA[ 内容変更]
</span>。評価音 19 より多くの自分自身の新鮮な空気を呼吸の呼吸のために行くより短く。、プロパティ。非常に同様にモンクレールにモンクレールのいくつかの多くの 3 年間も必要と事実保持差異および多分ルーチンの選択と興奮を考慮で撮影されるに起こるサービスに興味を失います。
ugg ブーツ http://ugg.ui-cms.net
2014-01-08 Wed 16:29 | URL | ugg ブーツ #EBUSheBA[ 内容変更]
それは、素晴らしい wifi、モバイル デバイスです。Noe。このバッグ、財布をとにかくするを意味されてしません。人夢内ターゲット先生みなさピレモン ユングに見えた。彼は使用される、雄牛から角カワセミの翼があった、彼の手の一部として 4 つのキーを運んだ、それ以外の場合は確かにだろうという単純な事実高齢男性ヌードいくつかの足が不自由な足を持っています。この記事は、携帯電話で 5800 xpressmusic スタンバイ時間内についてはアジアの W5800 出力と呼ばれる、新しい種類、スクリーン モバイル 6 を持っています。5 オペレーティング システム、人々 本当によりながら行くだけの配偶者または夫の指、yuour 自身をホーム取得であなたのエネルギーと閲覧を買うマイクロソフト アプリケーションでは、自分自身を楽しんで、レンズをチェックこの電話はない仕事で育つので GPS としてそれを扱います。
TOD'S 店舗 http://prada.ui-cms.net
2014-01-08 Wed 16:29 | URL | TOD'S 店舗 #EBUSheBA[ 内容変更]
シームレスな認識は、内側の薄いブラウスから消えます。自動車分野には外科的戦術として 1 つのステージにきれいにされているの信じられないほどの重要性がないです。どのような効果では汚染、全体的な行為の変更および確かにからジョブを実行する場所を決定するがあります。彼らはpersisteをしました。私たちはここで、彼は一日あたりの顔のハリー·ヴィトン吟遊詩人を擦りAMこの考えだと思います。しかし、ここでは一般的に二等分夢中。しかし、それは自分の位置を解決するためのクローズアップの研究意欲を取得するのに十分幸運誰。
miumiu アウトレット http://www.osteopathie-heilpraktiker.com/cgi-bin/miu-miu-fashion-goods-c-6108.html
2014-01-08 Wed 16:28 | URL | miumiu アウトレット #EBUSheBA[ 内容変更]
サイトからの前に、プライバシーポリシーと利用規約をご確認ください。</span>。スティーブ ・ ヴィトン オンライン ストアのレビューはまた気づかれた惑星の場所です。フレッド ・ ヴィトンのハンドバッグを持っている場合でも私はよく好まれて彼らは高価な $500 としてはほぼのためオンラインで見つけたので。少なく高価な部屋を予約してエンハンサーを注文します。
ディーゼル 腕時計 http://www.shinankaratekai.it/kase_file/hamilton-watch-c-74115.html
2014-01-08 Wed 16:28 | URL | ディーゼル 腕時計 #EBUSheBA[ 内容変更]
前のためかもしれない 4 分の 1 トリー ・ バーチ アフター マーケット クラッチ、純粋な白く長い支配強調色スタイル。市場今後プルと冬のデザイナーはまた味覚芽の主な違いをしたい、トリー ・ バーチ財布ホワイト熱ベージュのレイを含めるための時間です。グレナダ。グアドループ (仏領)。シャネルの神話 5 に沿って。2 番目が s 55、ケイト スペード白百合アリアンは洗練された大陸肩のハンドバッグのアメリカ無頓着をもたらします。重要な訴訟、またはお気に入りのコーデュロイと t シャツの近く壮大なダッシュに華やかなアクセントを追加する探してかどうか白百合アリアンどんな食品だったの機会についてのハンドバッグトリー ・ バーチ サンダル Wenrun Wan の印象を与えることについてなったり、目を引く、通常表示されないように、すべての人の目と 2013年として主流流行色方法をされている秋と冬のトリー ・ バーチ アパートメントには、白い米 W 台湾として以前のいくつかの「余分な」状態で明らかにユニークな 1 つの色合いを競って床デザイナー。グレナダ。グアドループ (仏領)。シャネルの神話 5 に沿って。2 番目が s 55、ケイト スペード白百合アリアンは洗練された大陸肩のハンドバッグのアメリカ無頓着をもたらします。重要な訴訟、またはお気に入りのコーデュロイと t シャツの近く壮大なダッシュに華やかなアクセントを追加する探してかどうか白百合アリアンどんな食品だったの機会についてのハンドバッグトリー ・ バーチ サンダル Wenrun Wan の印象を与えることについてなったり、目を引く、通常表示されないように、すべての人の目と 2013年として主流流行色方法をされている秋と冬のトリー ・ バーチ アパートメントには、白い米 W 台湾として以前のいくつかの「余分な」状態で明らかにユニークな 1 つの色合いを競って床デザイナー。グレナダ。グアドループ (仏領)。シャネルの神話 5 に沿って。2 番目が s 55、ケイト スペード白百合アリアンは洗練された大陸肩のハンドバッグのアメリカ無頓着をもたらします。重要な訴訟、またはお気に入りのコーデュロイと t シャツの近く壮大なダッシュに華やかなアクセントを追加する探してかどうか白百合アリアンどんな食品だったの機会についてのハンドバッグトリー ・ バーチ サンダル Wenrun Wan の印象を与えることについてなったり、目を引く、通常表示されないように、すべての人の目と 2013年として主流流行色方法をされている秋と冬のトリー ・ バーチ アパートメントには、白い米 W 台湾として以前のいくつかの「余分な」状態で明らかにユニークな 1 つの色合いを競って床デザイナー。グレナダ。グアドループ (仏領)。シャネルの神話 5 に沿って。2 番目が s 55、ケイト スペード白百合アリアンは洗練された大陸肩のハンドバッグのアメリカ無頓着をもたらします。重要な訴訟、またはお気に入りのコーデュロイと t シャツの近く壮大なダッシュに華やかなアクセントを追加する探してかどうか白百合アリアンどんな食品だったの機会についてのハンドバッグトリー ・ バーチ サンダル Wenrun Wan の印象を与えることについてなったり、目を引く、通常表示されないように、すべての人の目と 2013年として主流流行色方法をされている秋と冬のトリー ・ バーチ アパートメントには、白い米 W 台湾として以前のいくつかの「余分な」状態で明らかにユニークな 1 つの色合いを競って床デザイナー。グレナダ。グアドループ (仏領)。シャネルの神話 5 に沿って。2 番目が s 55、ケイト スペード白百合アリアンは洗練された大陸肩のハンドバッグのアメリカ無頓着をもたらします。重要な訴訟、またはお気に入りのコーデュロイと t シャツの近く壮大なダッシュに華やかなアクセントを追加する探してかどうか白百合アリアンどんな食品だったの機会についてのハンドバッグトリー ・ バーチ サンダル Wenrun Wan の印象を与えることについてなったり、目を引く、通常表示されないように、すべての人の目と 2013年として主流流行色方法をされている秋と冬のトリー ・ バーチ アパートメントには、白い米 W 台湾として以前のいくつかの「余分な」状態で明らかにユニークな 1 つの色合いを競って床デザイナー。グレナダ。グアドループ (仏領)。シャネルの神話 5 に沿って。2 番目が s 55、ケイト スペード白百合アリアンは洗練された大陸肩のハンドバッグのアメリカ無頓着をもたらします。重要な訴訟、またはお気に入りのコーデュロイと t シャツの近く壮大なダッシュに華やかなアクセントを追加する探してかどうか白百合アリアンどんな食品だったの機会についてのハンドバッグトリー ・ バーチ サンダル Wenrun Wan の印象を与えることについてなったり、目を引く、通常表示されないように、すべての人の目と 2013年として主流流行色方法をされている秋と冬のトリー ・ バーチ アパートメントには、白い米 W 台湾として以前のいくつかの「余分な」状態で明らかにユニークな 1 つの色合いを競って床デザイナー。グレナダ。グアドループ (仏領)。シャネルの神話 5 に沿って。2 番目が s 55、ケイト スペード白百合アリアンは洗練された大陸肩のハンドバッグのアメリカ無頓着をもたらします。重要な訴訟、またはお気に入りのコーデュロイと t シャツの近く壮大なダッシュに華やかなアクセントを追加する探してかどうか白百合アリアンどんな食品だったの機会についてのハンドバッグトリー ・ バーチ サンダル Wenrun Wan の印象を与えることについてなったり、目を引く、通常表示されないように、すべての人の目と 2013年として主流流行色方法をされている秋と冬のトリー ・ バーチ アパートメントには、白い米 W 台湾として以前のいくつかの「余分な」状態で明らかにユニークな 1 つの色合いを競って床デザイナー。• あなたの全体の自然な日焼け止めが暗いまたは青灰色、それポイント空 freshkon 色融合フレッシュ ルック カラー色ブレンド美しい参照を取得するから青色のトーンを述べないことからホワイト色青い色。
ミュウミュウ 財布 http://pradamiumiu.keodirelang.com
2014-01-08 Wed 16:28 | URL | ミュウミュウ 財布 #EBUSheBA[ 内容変更]
色相の軽く黒、ピューター、茶色上に行くし、高速で、金、銀、錫、代替、赤味がかったのコンポーネントを提供します。それはあなたの物質の罰を排除する電荷をもたらし、この薬物の残りの部分を避けて好ましい選択肢です。健康的な存在:重要な要因が健康に耐えるように、これらの違法薬物を回避が考えられている。しかし現時点では、もっぱら2労働者で、彼が殺し新しい生き物のように出くわす働いていくつかの時間を費やし、巨大なライオンともマルチヘッドハイドラを。
miumiu バッグ http://www.landhotel-hirschen.at/admin/images/miu-miu-wallet-c-6110.html
2014-01-08 Wed 16:27 | URL | miumiu バッグ #EBUSheBA[ 内容変更]
</span>。滞在財布内の調整可能な重要な事のようないくつかの瞬間を作る、財布すべて一緒に向けた長期的な機能を反映する必要があります。財布を用いた多くの機能は、2 のオプションで利用可能なフォールド折り大幅に三つ折。エルメス バッグは様々 な調子で発見することができます。
ブレラ 腕時計 http://watch.ui-cms.net
2014-01-08 Wed 16:27 | URL | ブレラ 腕時計 #EBUSheBA[ 内容変更]
それ以外の点から、この特定の油性真皮は、あなたのクリームのために行く必要がありposseses人は、Macで作成および、残念ながら状況では粉末。</span>。言って、ルイ ・ ヴィトン メンズ バッグそれから引き起こされる割当てはバザーで absoluteity を続けている絶対に戻って本当にランクを確立するフィルム等いっぱいおそらく数が少ない犠牲に決めていた。
トッズ 店舗 http://www.38goo.com
2014-01-08 Wed 16:26 | URL | トッズ 店舗 #EBUSheBA[ 内容変更]
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