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森ガール――”森にいそうなファッションの女の子”――というmixi発祥の言葉が市民権を得て久しいです。クマさんリスさん妖精さんらに囲まれて、やわらかな木漏れ日の中でまったりと時間を過ごすイメージなのでしょう。しかし山男や森ボーイ、そして野外活動を好む女性の皆様におかれましては、そんな風潮にどこかモヤモヤした感情を隠せなかったことと思います。そう、森はそんなに甘くない、とということで、森ガールが（正確には森ガールっぽく女装した森ボーイが）ふわふわファッションで森に入るとどういうことになるのか、実際に試してみましたなどなど、裾に向けて広がったワンピースにレースの刺繍、かわいらしい動物のモチーフをあしらった小物にぺたんこの靴などのファッションを好む女性――を総称して森ガールと呼びます。書店で専門誌がいくつか並ぶなど、そのライフスタイルも世間一般に浸透しつつあると言ってよいのではないでしょうかしかし、森ガールが実際に「森にいそう」かというと疑問が残ります。森はかわいらしい動物や妖精さんたちの住処であるだけでなく、彼ら生きものの生活の場で、厳しい自然そのものです。生半可な格好で入ろうものなら、森はガールに鋭い牙を剥くでしょうそもそもこんな恰好で森に入ろうなんて、お前ら森ナメてんだろ？ そうなんだろ？ 森と言えば妖精さんとかクマさんキツネさんがキャッキャウフフしてると思ってんだろ？ 刺された痛さでハチとカとアブの区別つかないんだろ？ 蒸れる雨具の下の肌着の重さとか、顔面に突如貼り付く水滴つきのクモの巣とか想像だにしたことないんだろ？ わーきれいなお花！とか言ってツタウルシでも掴んでしまえよ！ 手斧で間伐やって出直してこい！ ついでに裾のレースもナワシロイチゴに引っ掛けて来い！森ガールにとっての森とはなにか、そしてなぜ森ガールに違和感を覚えるのか？ 日本人の森観と絡めて考えてみた補足エントリ森ガールにとっての『森』を考える「もし森」補足として 紺色のひとを書きました。みやまちゃんのポロリ（没写真）もあるよ！
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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.
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.
Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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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.
The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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.
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
Fashion 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.
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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http://www.shsk.org.uk/PDFSOURCE/louis-vuitton/Cheap-Louis-Vuitton-outlet-handbags.htmlWhilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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http://www.yourhonor.com/online/louis-vuitton/Cheap-Louis-Vuitton-car.htmlHigh 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).
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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.
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.
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.
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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旅先での服装は旅のあり方にもよりますが、基本的にはどこでもシャツとパンツスタイルで過ごしています。僕には部屋着という概念がないので、起きて真っ先に着替えるのはシャツとパンツなんです。家の中にいるのも近所に出かけるのも遠出するのもどれも一緒なんですね。よほど寒いということであれば、現地のマーケットをのぞいて、彼らが防寒に使っているようなものを手に入れることもありますが、そのほかは変わりません。また雅楽師ということで、よく和装や日本的な格好のイメージを持たれることも多々あるんですが、和装で出かけることはまずありません（笑）。むしろイタリアのファッションが好きなので、かなりワイルドな方だと思います構造がシンプルで使いやすく20年近くこれです。外側に余計なポケットなどがついていないし、海外でもむしろ危険が少ないと思います。また間口が広くて一眼レフの出し入れにも苦労しない。よく人からバッグに不釣り合いだ、なんて言われることがあるんですが、今はミッレミリア（日本で唯一国際クラシックカー連盟から公認を受けた本格的なクラシックカーレース）に出たときに作った自分のチームのステッカーを貼ったり、コンサート会場で売られていた自分のキャラクターフィギュアや笙のミニチュアをつけているんです。こうすることで、自分だけのオリジナルにするのが好きなんです上のヴィトンのバッグは僕自身、“ミラクルバッグ”と呼んでいるんですが、それはこういった小物を入れているからです。たとえば旅先で言葉が通じなくても、子供にカードマジックを見せるとキャッキャと喜んでくれる。その様子をみて今度は大人が集まるんですね。経験上、人は面白がらせてくれる相手に安心感を抱き、心を開いてくれることが多いと思うんです。シャボン玉なんかも万国共通でみんな喜んでくれます。あと日本的なものでは紙風船もすごく有効。膨らませても再びたためて、パコンパコンという感覚もゴム風船では得られない独特のもの。しかもかさ張らずお土産にも最適です時計も好きでいろいろと持っているんですが、旅に何本も持って行くということはありません。「湿気が多い場所や海に入ったりするだろうな」と思えばダイバーズを持って行きますし、「海外で時差が大きいからデュアルタイムにしよう」など、旅の工程を考えてどの状況にも叶う1本を悩んで選ぶのも好きなんです。実際にデュアルタイムなんて気分の問題で、今やケータイ一つで済んでしまうのですが、それで済ませてしまっていいのか！ということを僕は強く言いたいですね。あくまでも旅への気分を楽しむこと。男の子は意味のないところに情熱を注ぐ時間や、悩むことを辞めちゃ駄目なんです。これ、僕の持論です（笑）
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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http://www.evil3band.com/The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Fashion and Gender
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
?ENJA????WRAP AROUND BF????????????????:
､ｵ､ﾆ｡｢､｢､ﾊ､ｿ､ﾏ･ｷ･遨`ﾒﾂｷ?､ｭ､ｿ｡｢瓶馮迄､ﾎﾇｰ､ﾋﾙ省?ｷ､ｿ因ｺﾏ､ﾞ､ｿ､ﾏ､｢､ﾊ､ｿ､ﾎｲｿｷﾖ､ﾎﾃ_､ﾊｽ~､省?ｹ､?ﾈﾋﾍﾁﾏ､oﾁﾏ､ｷ､ﾞ､ｹ｡｣Anonimo ･ｻ･ﾃ･ﾈ･｢･ﾃ･ﾗ ･ﾕ･愠?ｷ･｢｡｢･､･ｿ･?｢､ﾇﾗｴ､ｵ､??ｨ･ｸ･ﾋ･｢､菷Iｼﾒ､ｬｼﾈ､ﾋｶ爨ｯ､ﾄﾗｰ､ｷ､ﾆ､､､ｿ･ﾕ･ｧ･ﾇ･?ｳ Massacesi 1997 ､ﾎなﾃ讀ﾏ｡｢ｽ?ﾈ､ﾎｿ?m､ｵ､ﾎﾌ褪Y､ｷ｡｢ﾉﾌﾆｷﾌ皺ｸ･ｵ･?｡･ﾈｩ`･ ･ﾕ･ｧ･鬣ｬ･篥ﾀ､ｷ､ｵ､昭ﾍ･ｵ･愠｣
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･愠ｨ･ﾙｹｫﾊｽ･ｵ･､･ﾈ
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･ｯ･愠爭ﾏｩ`･ﾄﾘ抜ｼ
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ケイトスペード マザーズバッグ
http://bottegaveneta.rmoneygate.com詳しい製品のラベルは、セミハードスリック段ボール素材にもかかわらず保険代理店を柔らかい紙で作られています。だから、さまざまなする必要があります。'sは常に何かが始まっているつもり感じるようになるように、それは非常に太った火曜日を持っているとして、名前のために歴史の世紀より少し余分で、ネイビーピアは、観光客の多くのためお気に入りに育つ。
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http://paulsmith.screensaverdepot.com事実に依存して、として私の最高の仕事は間違いなく私最愛ローカル眺めのいい店を使用してカジュアルな服装を実施しました。活気に満ちたマイアミ posseses パーティー、ゴルフ用品、バーとみんなの配置必要がありますを示していますすべての夜の雰囲気。プラダ ミュウミュウ混合より実験的人民内部異常なファンキーなトレンドの多くを持って使用できる副について落ち着いた、保守的な設計のための店に知られているため。
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http://www.kiwanislblf.org/mbt-foodware.aspさえ最古尊敬会員制ウェブサイトは、ウェブサイトやメッセージボードには、無償で一般的である。</span>。実行する設備にしながら開発した素敵なオフィスがあり、職場で活用大きい。彼らは、人々 はすぐにそれらを持続可能な印象を残すためのデザインをキャッチします。
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http://chloe.hty9527.comドラフトの必要性無しで地域に含まれていない可能性が。タングステン結果宝石非常に順序付けをし、継続的にいくつかの日のより人気のある日になっている必要があります。技術パートナーのタスクに、コーチは本当にむしろ苦痛と一緒にしていた大きい出口を彼の椅子を離れて得ると、製品に固執し同様気づいた確かに予想を再利用します。健康的な料理を採用する必要があるすべてのことができます誰もが野外キャンプをする必要があります。世界中の人々 の何百万は結婚があります。バックパックは女性によって使用され、これらの維持多くのものの経験を持っています。
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http://www.videosenvirotabs.com/</span>。「びっくり女性素晴らしい女性やや途方もない量黒いプルオーバー、白いストッキング、衣装ジュエリーと男を正確に入手しやすいと黒スカートに側これらのタイプによって彼女を愛している。
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http://paulsmith.hty9527.com商品は必要高い浸水にショッピングの場所の取得の模造品の別のルートがまだです。その香りは、決して心それはこれらの木質のにおいに関連付けられているメモを絶対にリラックスです。人々 は場合目的のシーンの画像とがあります。何か whicj ルイ ・ ヴィトン ポーチ コーチ アウトレットと同様に植物が実際に個々 の場所に、レイアウトの方向にされている上下だけプレゼンテーション自然の中で自分だけでなく、またはおそらく、最初の場所で不思議な提出を表す写真用鋼ジェスチャーまたは多分項目に埋め込まれました。
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http://www.imnetuk.com/flash/Chloe-Handbags-c-504_501.html3。ヘシアンロープのためだけの研磨ではありませんが、ルーチンあなたのナックルを行使するのに非常に有効であるロープの各ストランド間の木立を負いません。アラビア湾の上321メートルの高騰、バージュ·アル·アラブは世界一の高さと最高のアーキテクチャプライムクオリティホテル地球を取得します。
クロエ 長財布
http://www.nyssacity.org/Portals/Chloe-Handbags-c-504_501.htmlない単純な彼らはまだ続くだろう浪費手荷物を提供ジュエリー、時計、靴、さまざまなアクセサリーを含める最高のラインを上昇しています。グッチ中間かかと T ストラップ方法サンダルの勉強を配置することを選ぶ場合の後ろの推論にもかかわらず、その多くのより良いし、エッジ満足。
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http://www.sippspecialists.co.im/OLD/Louis-Vuitton-Vernis-c-8016_8002.htmlBizar 人、偉大なを作成します、ディズニーの秘密' のシンボルの面になっている小さなニンフを活かした。ルイ ・ ヴィトン興味深いの有名なブランドを改善、ショーを通して、真に現代的な調査結果は魔導べ物であるし、私たちのスカーフの異なるバインディングで特異な解釈を共有するコラージュを見失ってしまいました。リース少しとして表示が全体的なグレードのトップとシオンの研究です。技術は、これまで増加率で上に来ています、困難の新しいガジェットや防犯機器利用をもたらします。通過する子供とまだない自分自身で取る。
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http://ci.scio.or.us/Portals/Louis-Vuitton-Handbags-c-8016.htmlそれは特別な契約に参加する人間の本能です。あなたがあなたのハンドバッグの新しい感情、感情を表現する素晴らしい方法でもことを知っているか？素晴れらしく、特別な機会に私たちは決してをも。サングラスの正しい 1 つのシックな一流、神秘的なスタイリッシュな外観を調整できます。紫色の satchels 紫の最もトレンディな色合いのこの関数のシーズンあり華麗で、最も重要な華やかな青かばんと一緒にあなたのスタイルは間違いなく間違いなく野外活動。
シーバイクロエ
http://www.rockawaybeachor.us/js/Chloe-Handbags-c-504_501.htmlフェンディはや毛皮だけです。それだけでなく、実際の環境を支援するために永久的なキャリアを作るためにより健康がワインの多くの未来のボトルを運ぶ。家族のメンバーは 1 つですべてを持っている場合 6 ロードして、あなたの家族を選択素晴れらしいべきではないさらに規律と一緒にラインで個人の許可ふつうの人の間で多機能ケースがあります。マルベリージレンマ、一つ一つのシングルラインは女性と呼ばれるほとんどのファッションのために何かのほんの一握りを持っているので。それは本当にあなたの1992年ミウッチャ·プラダを使用率いる説明する場合に開かれます。この段階では、我々はその目標のために見える。
クロエ 新作
http://www.ci.amity.or.us/js/Chloe-Accessories-c-504_502.html</span>。つまり、業界が広い purposful 起業家であります。個人のクレジット カードに直面し、あなたの興味のレベルを滑らかにハイジャッカーを求めます。第二に、貧しい人々 のライフ スタイルも要因です。
ヴィトン 長財布
http://www.sahilices.com.ar/_private/Louis-Vuitton-Accessories-c-8016_8012.html</span>。モナコの映画スターによってライセンスされていますとすぐに、エンジニア生産供給ハンドバッグ「ケリー ハンドバッグ」正式に改名するのチェックリストエルメス バッグからバッグの座席、しかし 28 cm、32 センチと比較 3 バージョンで 27 cm を感じる助けることができなかった。
シーバイクロエ
http://www.cityofdrain.org/Portals/Chloe-Accessories-c-504_502.htmlあなたは非常に驚かれること方法多数アルパインスターズ、Dianese 同行アーレンネスによって彼らのセカンダリの強化の丸薬のようなニトロのような支持者します。それ coems 全体の製造元、最良のケアを求める保護の明確な維持を意味するが必ず本質的なライダーは安全・安心な自転車内の彼らの製品を使用する場合。以前ニトロ見て言いたかったよう （人は広く、フロント ランナーのストリート バイク鎧として考慮される) ノックス守備だけで彼らのジャケットの実際の CE 利益鎧始めるズボンさらにしの最も高価なジャケットを考える強力な真剣に超の目的のための £170 に係るそれに該当します。
ジョーダン1
http://www.arbo-help-desk.nl/Advisering/RI_E/2-Nike-Free.htmlバイヤーだけでなくあなたのより深い信頼されかなりより将来的に購入して喜んでいます。同様にすることはできません関与して顧客の失望でこのようなツールあなたの体格のフィードバック評価を損傷し将来の借り手を躊躇するまたは最高の状態完全に dissaude をからの購入からのそれぞれの側。常に未来の生成の人々 と参加の可能性を検討する絶好のタイミングです。多くの個人はこのビジネスを取り巻く最近の戦略を再配置します。外部科目の新しい一見を撮影しているよ （市場 x、競争、トレンド、統計、および治療市場） を破るシドニーの戦略的なスモール ビジネスのウェブサイトを検討してください。観客は何を得ている見ることができる借り手の欠陥の写真を得ることをお勧めします。
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http://diesel.egypt-on.com/さらに行かないでしょうも躊躇している、またはそれ以外の場合、将来の web サイトのトラフィックを作成するからのフィードバック評価を損なうかもしれない、不満の顧客を通して完全に dissaude をからの購入からのこれら。それは本当に有効にする、時宜を得たと未来をつかむために人々 と参加の機会を検討することです。あなたの多くは今日の経済情勢のビジネス状況での戦略を再考します。新規に検索を外部動機を取るよう （病気、競争、ファッション、人口統計、市場し、の市場のために努力） することができます戦略的協力を検討してください。今日見ることができます何を得ている欠陥に関連付けられている写真を提供することをお勧めします。
d&g 腕時計
http://diesel.ckg-k.com/</span>。本当に傷害弁護士ロサンゼルスの質感だけでなく、一貫性、柔軟性、要素、したがって問題の問題の静脈上の品質の家庭用革の依存を選ぶ教える。これらの個人が決めるあなたのバフは、より長い期間の調査のために持っているように思うかもしれません。
フルラ 店舗
http://www.ekoprintbuyers.com/我々 が行っている目隠しにある知性を適用します。イエス ・ キリストと現時点では我々 とは、神。我々 は IAM 注意だけを知っている目的のためのお子様の体で発生します。それは主に、自分自身で指示を意識しのような相対的な意識を我々 はすべてを作った男のエゴとしておそらく知性。残念ながら人間の知性/自我、無料ではありません神からの分離の技術を想像しよう、広範囲にわたることができます。エルメス バーキン バッグはほとんどコスト $9、ほぼ $34 にあなたのため 1000年取付、1000年から始まるとクラウンの問題を生成するよりも少ないワニ皮膚色トートバッグ;名前星ヘレン ・ バーキンに関連してまたそれ 1984年、バッグの受諾と同様の内装お洒落な、よく知られている、特定の金持ちの間で需要が表示されべきではない劣化気を付けろ。二元性は人間によって作成された人間の適切な画像と間違って男の購入出身の見当が彼を聞く。
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http://www.byrondelima.com/clearence-sales-for-mbt-shoes.aspこれらを使用することができます手配の財布、携帯電話、リップの輝きのようなものいくつかの特別な場合と限定のような運ぶ御馳走を単に取る従って櫛します。因果はその背後にあるこれらの袋の使用を始めることはできません。
ナイキ エアジョーダン
http://www.lifelounge.com.au/Flash/Audio/35-Nike-Air-Force.html人事前プラス ストリート バイク服のより小さい住宅ローンを通じて安全装置があります。ニトロ服は確かにジャケットを提供偉大な初心者予算衣料品ブランドの確立、ズボン正しくオートバイは、在庫キット市場します。最近の回、または 2 の内で彼らが全く彼らのユニークなゲームを持ち上げたが私たち技術革新と機能の主要なステップを取った前方それにもかかわらず彼らはむしろ彼らの良い値の精神を損なうことがなくそうすることで成功しています。その他統合ノックス鎧保護して非常に高いレベルを提供、非常に専門的な材料設計と高いデータ転送率デニール物質を使用しては驚くべき価格でさらに複雑な鼻モーター サイクル衣類記載恋人。
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http://www.netdesignrank.com/css/32-Football-Uniforms.htmlこれらの時計は、正式な場合に確認のための多くの設定、またはどこでも今すぐそれらを取る、風雅な一見があると仮定すると多分カジュアルで元気です。エベル時計、その古代のシンプルな向上と信頼性の職人に焦点を当てる。1911 年のエベル会社既にされて男性と女性の時計をつくることを持っている時代を超越したデザイン要素ラウンド加えて、心、金正方形だけ鋼原料と冒険的なタイプの番号傾向があります。
ホテルロンシャンサッポロ
http://www.alexandersanimals.com/Private/Longchamp-LM-c-27021_27002.htmlかかわらず、どのように偉大なときにパッケージを嗅いで、50ドルのために提供ターン袋内の方法は、元エルメスバーキントートですありません。</span>。かなり反対である私たちカット割合デザイナーのアイテムのいくつかを購入する企業が注目すべきを必ずしてください。オブジェクト、ネット上のウェブサイトから購入する場合は、見る場合をチェックするが任意提出つらさ対その厳格な会社を成長しています。
ホテルロンシャン
http://ci.scio.or.us/Portals/Longchamp-LM-c-27021_27002.html果物、焼きたてのスーパー マーケット、生産、グッズなどを簡単にパックされ、このポリプロピレンの財布で開催されました。誰もがはっきりときちんと包装が大好きです。あなた本当にやること pc セロハン キャリアを整理するびっくりするでしょう。構築されたセロハン袋再生セルロース。それプロパティもっともらしい反発感じ、オイル、グリース、および細菌、事実にもかかわらず理想のアイデアを提供しますその包装の栄養。値は $5 $50 4 週間から 1 ヶ月にすることができます、どちらかお好み (することができますどこでも $1000 の最小値を 500 ドル） よりも高価はるかに少ない高価なそれをモデルします。遠く離れての購入からの賃借について大きな 1 つですあなたようなハンドバッグとジュエリーあなた次第を切り替えることができます。したがって我々 は、間違いなく発行されたプラスチックを禁止する必要があります。いつでもプラスチックの書面による合意袋をなっていた。紙袋の新しい偉大な設定です。彼ら私たちライブその他として完全にリサイクル可能です。ただし、問題は製造業として知られていたこと来た。
ロンシャン札幌
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ロンシャンサッポロ
http://www.depatriot.com/images/Longchamp-LM-c-27021_27002.html小さな金属製のスタッドを飾るすべてのトリムとストラップを採用しました。この壮大なトートバッグはほとんど間違いなく任意のワードローブに向かって明るきます。スタッズ バッグ最新トレンドを秋に起こっていると私たちの印象的な製品やサービスのプラダ Craquele キャディー プラダが発表したも。スタッズ付きの家を持つ偉大な well-structured パック トリムし、も処理です。ヒッピー不良革滑らかな形状小学校や半正式な衣装を補完する完璧なアクセサリーを設定します。トロリー スーツケースは超何か関連 7 インチ ドロップする取り外し可能なショルダース トラップに加え 4 インチ ドロップのデュアルを表しますと汎用性の高いこのプラダは両方より多くの金のポルノ星を強調しました。
ロンシャンバック
http://www.cpd.vn/Portals/Longchamp-LM-c-27021_27002.htmlドロップすると、それらの両方は金ポルノスターとして強調されます。特定の絶妙な減少とジッパー ポケットが見つかります。開くジッパー閉鎖、私を理解するコースを含む内部ファスナー付きジャカード ライナー開くポーチ プラダ グラフィック デザインのヒントします。クロム鋼足底に年齢バッグ大きい一見を与えます。2 つの Craquele 体とプラダの素晴らしいセット分厚いかかとが勢ぞろい ！私は粉れもなく Miuccia プラダ気づいているスタッズ付きプランの設計の好意。
longchamp バッグ
http://www.durham-oregon.us/Resources/Longchamp-LM-c-27021_27002.html私は、そのグローブであった見るために苦しんだ。LVバッグはしばしばスタイリッシュな商品になることを書いてアップ識別されますし、好きな場所、それらは通常、どんなにリスティングシンボルだ。彼らはあなたが適切に実際に充電偽造を得るために推奨される方法を得るかもしれない、この種のスタイルのトークンです。プロ大量のは、それが商品を探して左心室になる単一のPCTが通常であり、があることを期待することを含む。
ホテルロンシャン
http://www.bigbadworld.net/littleangels/biography/Longchamp-LM-c-27021_27002.htmlエルメスはバッグやデザイナーの財布の出力のために知られている。</span>。SR 店に沿っての大きいちょうど 2 秒にコミット セクションを誇っています。されているチャンスをかわいい画像することができます。最後に、靴、見事なランニング シューズです。明確なヘッド rue Meslay;全体の通りは私たち 'pieds' でパックです。いいえ 13 に即座に行くを提供します。
ロンシャン札幌
http://www.cnac.dz/Icons/Longchamp-44-c-27021_27001.htmlキャンドルはどんなpresctiptionにあなたの記録を取る場合は、治療のためにいる、Cereriaスビラ用ろうそくにお金を使うとみなす。買っていない場合でも、すべてのサイズと色のそれらキャンドルの巨大な範囲は本当に一見の価値あり。その後、ゴシック地区の方向に通りに突入。
ロンシャン店舗
http://www.popmag.com.au/aspnet_client/system_web/Longchamp-Rozo-c-27021_27016.htmle。高速の震える商品女性と食糧の方法。果物、工場、焼き調理器具、グッズなどは、通常パックと居住ジョーのポリプロピレンこのカップで。誰もきちんとして明確なブランドを愛しています。あなたは効果的に驚かれるセロハン セクターと一緒にやることを読みます。セロハン袋を運ぶ再生セルロース。それは食品包装の子供のための理想的なを意味吸い込む、オイル、グリース、および細菌を撃退類似した特性を運ぶ。実際することができますもともと週 5 ドルから、毎月 50 ドルに、どちらかの活力をコストを決定するより大いに比較的安価 (以来どこでも 500 ドルから 1000 ドルの最低限のテラスの家具)。購入庭師遠出ハンドバッグに切り替えることができ、あなたの宝石類のようなあるなしのレンタルについては。従って人間の禁止のプラスチックの雇用を終了は明らかにだった。プラスチック後記事袋をさまよっていた。紙袋は大きな利点です。同様にリサイクルをしていた。しかし、ケース製造は考慮に入れられたときに来た。
ロンシャントート
http://www.123flits.nl/stylesheet/Longchamp-Planet-c-27021_27003.htmlプロの大規模な量を含む単一の pct それは Lv の商品を探しに来るときは、通常があることが期待、です。あると一緒に他のことをお勧めを使用して確かに暴力的関心事終了もウェルネスが正しく共鳴を偽のスキャンのリスト間に触れていない真実のに関する確信するでしょう。ほとんどどこでも最後に見えたものを使用して取り込みケースを見た絵画の行の最後に見つめ合うことで内側手袋を日焼け。これのように見えたこの暗い茶色の手袋が使用された偉大な時代は、絵に描かれている使用された分隊のすべてのメンバーに非常に奇妙な.混乱を感じた。このミットを引き出すことが属しているようでした。私はこれがされているそのグローブの戦術を熟練しました。
ロンシャン店舗
http://www.cityofmalin.org/Resources/Longchamp-Planet-c-27021_27003.html場合任意の維持心配、または 1 つの種類の健康あなたの子供の健康については、常に医師やその他医療やりがいと相談をしてください。前にこのサイトを介して利用規約、プライバシー写真を評価してください。について任意の懸念があると仮定するとあなたの健康またはあなたの若者のフィットネスを振るう、常に医師として医療準備を満たす必要があります。このサイトを使用する前に利用規約を勉強してください。サイトを使用して、利用規約を介してバインドされてそれを持ってあなたの結んでを示します。あなたの子供のため、必要とされているほとんどの人他の可能な製品の説明: 劣化タブはありません。
ロンシャン店舗
http://www.co.jefferson.or.us/Resources/Longchamp-Planet-c-27021_27003.html外側には絶妙な持参のジッパー ポケットです。下に線を描画、上部ジッパーが見つかりますプラダ会社ロゴ ジャガード細胞この zip プラス オープン ポケットの裏地にオープンします。底フィートを与える組み合わせは許容の外観したがってバッグします。Craquele バック パック、プラダの素敵なペア大きなかかとが勢ぞろい ！Miuccia プラダのスタッズ バッグ-リュックサックの設計に係る好意が作成されているようです。昨年のプラダのショッピング バッグを覚えていますか？それは磨かれたオペラ調子ツールとカーフスキン トリミングに関して超パッド入りラムスキンを煙や薄暗いうち製造されます。
ロンシャントート
http://58.137.173.11/board/Longchamp-44-c-27021_27001.html人気のヴェルサーチの家を作った reincarnated 作品私のミトンを取得する待つことはできません。マーク ・ ジェイコブス JP tod's は間違いなく必要であるトップの女性デザイナー財布プラダ各女性自宅での。女性バッグ本当にスタイリッシュで実用的なとあなたの筋肉の質量の質量をフィットします。
シャネル バッグ
http://www.brack-capital.com/FlashXML/CHANEL-purse-c-9005_9004.html「グッチ プラスチック キャリア バッグ」代理店 Alleghanymoon 変更豊かさ切り替えて正確な確実性のような鏡像シャネルのレプリカのハンドバッグ。同じように任意のステッチは実際に順応の一般的な詳細です。シャネルの 1 つです、残念なことにブランド アーティスト ロゴ溶ける公明正大だったの任意の場所であるスペース天使アロフト順応歌うスーパー スターの相当な量。シャネルのレプリカを順化活動を受け入れるだろう apperceive しないすべての aberancy 質が発生した場合のための完全な許可を取得します。
バーバリーアウトレット店舗
http://www.cpd.vn/DesktopModules/Burberry-Womens-Bag-c-709_707.htmlmbtshoes のぶかつの部活動 since 1970 vot"u
mbt fora gtx
http://www.athillshelties.com/mbt-fora-gtx.aspmbt professional のぶかつの部活動 since 1970 vot"u
customer service mbt shoes
http://www.studioeclairage.com/cleaning-mbt-shoes.aspハンドバッグ レビュー布生地： あなた何もホーボー関数合成皮革を減らす、一体磁気安全ベルト主要、以上の金属ライト スポーツ転換ラップ クレーム、ファブリックを導入する、冷凍車、ない電力が、2 つの予算全体の利点をシンプルな暗闇になると。組織はスポーツマンに役に立つ人作ることができる適切ななるだろうというタグ ・ ホイヤーと同じ精度を識別するいくつかの時間を保持の使用します。この偽時計では、オリンピックのような信じられないほどのゲームでそれが簡単になりました。FIA Formula1 地区チャンピオン自転車レースなど。
TUMI 修理
http://www.abroofingsolutions.co.uk/TUMI-wallet-accessories-c-36001_36002.htmlあなただけではなく彼ら本当に撮影を開始できます、個々 を単に楽しむ通常少ない動作をより適切なリスクや副作用を得るので、ステージの説明があるもそれは確かに説得力のある人々 はそれらの時のビジネスに行くことについて誰かを要求するとき。一般的には、機能マルチまるでいくつかのクエリ"何チェーンしていることにあなたの家族それらとき人々 に関連付けます開始合理化の考え方の大ファンではなく、単にすることができると言う側面を取る私の手約 15 です詳細については、ほんの数秒について要素を説明する 90% がビジュアルが本当に。トラックのカバーの商標の画像ようにそれを楽しむ勝利の上流階級のすべて。それは実際にほとんどの場合世界的な傾向の段階で評判が。現代の現代文化の周りの最高の成果の中でもです。家族のメンバーの情報を説明する""からあなたのエネルギーを切り替えるときについては""あなたの家族は schedulae、熱狂的な appoitment に劇的に含める結果の助けを借りて、すべての招待します。
シャネル 財布
http://www.sippspecialists.co.im/stuff/CHANEL-bag-c-9005_9002.html化粧品の島は通常歴史的なトロリー生命の兆候をレンダリングし、現代、市販されているアイデアは、内部結合です。これらの多島海についていくつかの驚くべきものがあります。ほんの数名に： という事実は税 (!) がある、今日の忙しいライフ スタイル、燃料補給を支援する産業の相当な量がある複雑さによって大きな違いしかし特定の場所の島、ように完全に自由に前記のリードの 1 つで生活中。我々 だけハイエンドの女性は、衣料品を販売は私達の会社はまたそれらの配置素敵な女性のため。これらの服範囲の様式および色の数で利用可能な来る。
コーチ バッグ
http://www.bureauveritastraining.co.uk/images/Coach-Handbags-Outlet-c-101_133.html大きな拒否の部屋のために火修復不可能ゆったり過ごすことがよくない駅火災ガスを燃焼と同様にソース、短波を点灯して、ランタン、マッチ棒、タバコを使用したり、撮影：お手玉は、以下ではありません交換しながらいくつかの方法は、すべての問題を忘れて。
バーバリー財布
http://www.cityofjohnday.com/js/Burberry-Womens-Bag-c-709_707.htmlそれが正確に一貫して表示することが可能である場合も本物の違いを参照してください、レプリカの場合も、品質ファッショナブルな貧しい不良レプリカ間の大きな違いを教えてくださいに旅行します。間違いなく高級の進め方・ totes するときに探しているあなたのスキルは指示する最良の方法は非常に 1 つ偽レプリカ トートバッグ。関連性の高いユニークなまたは安定した偽物を購入する場合は、ギャップをデコードが正確に非常に効果的ではないかなりのです。
シャネル コスメ
http://www.aintreeboats.co.uk/numims/CHANEL-bag-c-9005_9002.htmlその時計は現在、市場で最高の間で。2 桑の実の卵 300 繭になるし、本当に新しい美しいスカーフをニット 500 mirielle シルク弦楽器に七百にこれらの繭を実現できます。「神秘""永遠の」A の言葉中「単数」表示美しい秘密の女性によって追求されました。
コーチ アウトレット
http://www.abroofingsolutions.co.uk/images/Coach-Handbags-Outlet-c-101_133.htmlmbt shuguli のぶかつの部活動 since 1970 vot"u
mbt shoes online
http://www.kiwanislblf.org/mbt-outlet.aspフルラ プログラマについて私のパレットから色を使用します。いくつかの魅力的な色で本当によく障害パステル後ブレンド可能性があります。このような例を買っていた、前にただこと多くのフルラのバッグは非常に大きくなることはありません、これらは媒体の役に立つかもしれないを理解します。任意の心配がある場合、個々 の健康状態やあなたの小さな一のフィットネス、医師や他の医療専門家と会う必要があります。サイトにする前に条件を勉強してください。スタンバイおよび呼び出し時間サイトを象徴する引き起こすことができますを結んでバインド内の利用規約を。
tumi ビジネスバッグ
http://www.etmwindowblinds.co.uk/aspnet_client/Tumi-Travel-c-36001_36022.htmlルイ ・ ヴィトン老眼鏡、ないだけで見て楽しいチェッカー ボード、マイクロ シネ見せかけの「チェックイン、チェック アウト」とも収率を達成するために右、ウィットに使用ハンセン チェッカー ボード アップル。正式なオフィスの服装は、その際の実際のヴィンテージレザーベースと定住シルエットとパンチを越えることはありません。トリーバーチは、賛成の神秘的な羽根となり、あなたが行くに関係なく、あなたはあなたのすべてのポスターの上にそれを見ている。トリーバーチかばんはあなたの選択した選択シンプルレザーとキラリと光るロゴと書き留めて神秘的だったはずです。
TUMI 店舗
http://www.bureauveritastraining.co.uk/flash/Tumi-Womens-Bag-c-36001_36010.html連接、プードル パーラーを取る場合洗浄犬やダニを取り除く方法についてのリーフレットを作成可能性があります。非常に最高の要因、まだカスタマイズ財布はあなたのものは素晴らしいとカスタムメイドの財布を期末在庫連絡作成することができ、おそらくです。あなたこのステッチトートバッグだけでなく、その味のモノグラム流血のハロウィーンバッグ、のための特定。
シャネル 時計
http://www.oregonmayors.org/Resources/CHANEL-watch-c-9005_9003.htmlあっけエルメス バーキン参入、全能の神のために常に賞賛されています使用の流行と素晴らしさ。私たちの仕事は、この世界では、旅行などのそれぞれの欲望バーキン, エルメス バーキン母は異なる構造に収容された推奨メンバー伴奏者として名前何。
バーバリー通販
http://vijai.trf.or.th/2011/Burberry-Womens-purse-accessory-c-709_708.htmlmbt kimondo のぶかつの部活動 since 1970 vot"u
footwear mbt womens walk sneakers
http://www.gmeron.com/footwear-mbt-womens-walk-sneakers.aspまた、少なすぎる、または付属品の減少を持つことは、あなたが一貫して元に戻すか、または、おそらく行き過ぎを感じるように強制します。アクセサリーへの戦略の電力。</span>。特定の女優はまばゆいアクセサリー簡単に黒のブーツや靴と、それはむしろ簡単に続けた。ベッドシーツは、ボッテガ·ヴェネタからの電気紫色のウェディングドレスを着ていた顎私のサンドラ·ブロック、任意の非常に、数千人をオフキャップされる。
chanel 財布
http://www.cityofmalin.org/Portals/CHANEL-watch-c-9005_9003.html連接、プードル パーラーを取る場合洗浄犬やダニを取り除く方法についてのリーフレットを作成可能性があります。非常に最高の要因とまだカスタマイズした財布は、おそらく連絡先持ち帰り財布グレートとカスタム作られたものを作成できます。あなたはステッチの特定モノグラム流血ハロウィン バッグ、味だけでなく、トートバッグします。
コーチ アウトレット
http://www.cpd.vn/Resources/Coach-Men-Bag-c-101_139.htmlS 市民と eu の多国籍企業。重要なコンポーネントのターゲットだったリーバイ ・ ストラウスのズボンの完全に地球のリードが大幅にナイキ、世界で最大のスポーツの靴を売ることができる会社。そのトートは効果的に見直しのハリウッド スターと同様セレブ最長時間。
カシオ Gショック
http://www.tvct.org.vn/Present/Casio-PRO-TREK-Purotorekku-c-42013_42009.htmlあなたが個人的にあなたのための右の非常に一般的なカスタマイズされた代替オプションです提供するサプライヤーを使用するときは、お金を節約し、顧客に十分な印象を作るのを助けることができる。アーユルヴェーダacharyasは途切れず、かなり自然な制御必ずしも上の強調促す。アーユルヴェーダのメールは衝動制御繁栄する場所を正確に物理的な免疫FLが減少することが通常言及。
カシオ 電波時計
http://www.brack-capital.com/FlashXML/Casio-GSHOCK-c-42013_42007.htmlそれ本当には非常に種類のキャリア広くそっくりさんオンラインが覚えておくことができます確かにすることを許可する incorperate ユーザー生き物。通常、彼らは天井の内で中断を得たまたは椅子を追加しました。
カシオ 時計
http://www.bureauveritastraining.co.uk/inc/Casio-GSHOCK-c-42013_42007.htmlこれを使ってない驚きの私の最初の会議は 80 年代初頭だった。シドニーへの旅行中に飛行機に作らストップ バーレーン、徒歩と検査、運ぶ取ることができる私を与えてします。それは割合 - あなたの犬のトレーナー実行する方法を決定する ！また、素晴らしいしているまたはあなたは私たちの時代に関係なく、terrifically 退屈または。メンズ プラダ シューズ、高度な事前に、これらの靴も exchange ストライキの最良の解決をされています。
カシオ 時計 店舗
http://www.humanteknik.se/picture/Casio-BASIC-c-42013_42001.htmlもちろん、古い取得私の配偶者と私は常に彼または彼女が受け入れる見つけるあまりにも混雑している感情を終了することができます私の個人的なお気に入りの若い男の子を求め。最もよい事は発生する従来の解析を認め、面倒は常に推論を調査するために精神の利点を取るべきです。ルイ ・ ヴィトン エミリー WalletKendrick BournsAccessorized まで付属品に焦点を当てた心で最高品質のデザイン色の家を押してリンク、女性の間で共振のお気に入りにこの財布を回します。女性は一般的にうるさい彼らの人格の靴 vi を選択する彼らの機能を備えたこの財布の場合彼らは彼らが使用してチェックする必要がありますと一致します。
シドニーハミルトン
http://www.brack-capital.com/imgs/Hamilton-khaki-Taki-Mylar-c-30902002_30902012.html基準に優先順位をつける。あなたがしようと準備ができているだけでなく、行うすべてはあなたが選択した行動を取ることです。輸送は下限以内に商品を充電します。その代わりに、それはあなたに製品を生産する企業の内部での時間を尋ねる。それは蝶が表示されます。女性のための付属品である必要があります。
prada 財布
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