のぶかつの部活動 since 1970
Do you know the answer to this riddle?
vot"u
tomo-s3[1]





















拷問島








もともとは いーすたーとうで つかわれて いたが、
せん ごひゃく よんじゅう しちねんに
 にほんに つたわった。
いーすたあとうでは そのご、すぺいんじんに よって 
ひらがなは ほろび、にほんだけで つかわれた。

そのご にっちゅうせんそうが げきかした おり、
ぐんぶの しゅどうに より てきせいご はいせき うんどうが おこり、
 かんじの しようが きんじられた。 ひらがな のみで ぶんを かく ことが

 いっぱんかしたのは この ときで ある。 















肛門島に出て北和尚



しゅうせんご この しゅうかんは すたれるかと おもわれたが、 
にほん しんちゅうぐんの しれいかんで あった 
のぶかつ・きいしだは この せいどを ふっかつさせた。

 この けっていには、 にほんじんの よみかきのうりょくを おとし、
 こくりょくを よわめる いとが あったと される。













のすたるばばぁ




 

あめりかじんには みみずの られつにしか みえないと いうが、 
にっちゅうせんそうに よる ためで ある。














押尾レベル1収監






なにがせいこうでなにがしっぱいなのかなんてだれもわからない。
なにがしあわせでなにがふしあわせなのかなんてだれもわからない。




のぶかつです

castaway193





なぜならそんなもんそんざいしてないから。
このことをみなさんにつたえることができてぼくはしあわせです。










しばらく米いらんわ~いわいな




でもぜんぶひらがなにしたのでよみにくいですよね。
しっぱいしました。









幻想193



はなしはかわりますが、みなさんしあわせってなんだとおもいますか?
はなしかわりませんでしたね。










赤いシャア




「てらをあずかるなどおよびもつかぬことです!」








しっぱいです。
ふしあわせです。










シャア苦



でもせっかくなので、しあわせとはなにかをもうすこしほりさげてみましょう。











jaws3[1]



いまわたしはかじかじのぶろぐをれんさいをしてるのでぜひみてください。












PDVD_gokumon







ほりさげずにこくちをしてしまいました。
しっぱいです。








cast-away-nobukatsu.jpg





でもこうかいはしていません。
っていうかこんなにひらがなだけだときもちいいですね。




(。☉౪ ⊙。)



















うしなったものばかりおもいだしてまう!!! 

ないものはない!!!




ナスカの地上絵




むじんとうになにかひとつもっていけるならまよわずおいなりはんです!!

おいなりはんがおいしいみせは

ふたつめのしんごうをみぎでつきあたりのおいなりはんをひだりです!!

ワンストライク、ツーおいなりはん!!

ないかくギリギリになげてきたおいなりはんをさからわずたべる!!


これをきにひとりひとりのこころのなかにあるおいなりはんをみつめなおしてや!!












bBack_to_Future_1983



ひとがいまいるところから、

じかんてきにさかのんぼってかこのとくていのじき、

あるいはくうかんてきにはなれたばしょをそうぞうし、

そのとくていのじかんやくうかんをたいしょうとして、

「なつかしい」というかんじょうでかちづける[´・ω・`]。



































なんかいい




































ピアノふんじゃった






じぶんではわすれたとおもっているきおくが、

じつはのうにまだのこっていることがぶかつどうであきらかになった。


























獄門島

くるしくったって

しんどくったって

たぶん、ノスタルジーにひたれるひがくるんだろな
































Seven-Desert[2]
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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.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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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.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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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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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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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.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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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).
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.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Fashion 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.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Fashion 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.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Fashion 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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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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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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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.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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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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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。
クロエ 財布 http://chloe.rmoneygate.com
2013-11-13 Wed 20:53 | URL | クロエ 財布 #EBUSheBA[ 内容変更]
mbt anti shoe のぶかつの部活動 since 1970 vot"u
mbt on sale discontinued http://www.kiwanislblf.org/mbt-foodware.asp
2013-11-13 Wed 20:52 | URL | mbt on sale discontinued #EBUSheBA[ 内容変更]
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。
chanel バッグ http://chloe.hty9527.com
2013-11-13 Wed 20:52 | URL | chanel バッグ #EBUSheBA[ 内容変更]
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。
MCM 新作 http://www.videosenvirotabs.com/
2013-11-13 Wed 20:52 | URL | MCM 新作 #EBUSheBA[ 内容変更]
</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。
Paul Smith 時計 http://paulsmith.hty9527.com
2013-11-13 Wed 20:52 | URL | Paul Smith 時計 #EBUSheBA[ 内容変更]
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。
chloe 財布 http://www.imnetuk.com/flash/Chloe-Handbags-c-504_501.html
2013-11-13 Wed 20:50 | URL | chloe 財布 #EBUSheBA[ 内容変更]
3。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
2013-11-13 Wed 20:49 | URL | クロエ 長財布 #EBUSheBA[ 内容変更]
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。
ヴィトン モノグラム http://www.sippspecialists.co.im/OLD/Louis-Vuitton-Vernis-c-8016_8002.html
2013-11-13 Wed 20:49 | URL | ヴィトン モノグラム #EBUSheBA[ 内容変更]
Bizar 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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2013-11-13 Wed 20:49 | URL | ヴィトン 財布 #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 20:48 | URL | シーバイクロエ #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 20:48 | URL | クロエ 新作 #EBUSheBA[ 内容変更]
</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。
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2013-11-13 Wed 20:48 | URL | ヴィトン 長財布 #EBUSheBA[ 内容変更]
</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
2013-11-13 Wed 20:47 | URL | シーバイクロエ #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:45 | URL | ジョーダン1 #EBUSheBA[ 内容変更]
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。
diesel 財布 http://diesel.egypt-on.com/
2013-11-13 Wed 19:45 | URL | diesel 財布 #EBUSheBA[ 内容変更]
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/
2013-11-13 Wed 19:45 | URL | d&g 腕時計 #EBUSheBA[ 内容変更]
</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/
2013-11-13 Wed 19:45 | URL | フルラ 店舗 #EBUSheBA[ 内容変更]
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。
エアジョーダン2013 http://www.sippspecialists.co.im/stuff/32-Football-Uniforms.html
2013-11-13 Wed 19:44 | URL | エアジョーダン2013 #EBUSheBA[ 内容変更]
cheap mbts のぶかつの部活動 since 1970 vot"u
clearence sales for mbt shoes http://www.byrondelima.com/clearence-sales-for-mbt-shoes.asp
2013-11-13 Wed 19:44 | URL | clearence sales for mbt shoes #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:43 | URL | ナイキ エアジョーダン #EBUSheBA[ 内容変更]
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。
air jordan 1 http://www.netdesignrank.com/css/32-Football-Uniforms.html
2013-11-13 Wed 19:43 | URL | air jordan 1 #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:41 | URL | ホテルロンシャンサッポロ #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:41 | URL | ホテルロンシャン #EBUSheBA[ 内容変更]
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 http://www.ci.amity.or.us/Portals/Longchamp-LM-c-27021_27002.html
2013-11-13 Wed 19:41 | URL | ロンシャン札幌 #EBUSheBA[ 内容変更]
小さいスタッドを銀トリムまたは時々 ストラップの一部を飾る。この最高級のトートバッグは間違いなくかなり服を着た上明るきます。スタッズ バッグ、秋の一番ホットなトレンドをする必要がありますプラス プラダ レイズ リスクを発表した彼らの殴打に小さなビット プラダ Craquele ホルダー。スタッズ付きバフ トリムと、ハンドルの付いた素晴らしい、よく構造化された袋です。ヒッピー革を圧倒し、それ陸上競技またはセミフォーマルなアンサンブルのための完璧なアクセサリーに洗練された形状変換を見つけます。このプラダ キャディーは約 4 インチ ドロップ 7 長いドロップを使用してのストラップでおそらく取り外し可能な肘の二重カバーで汎用性の高い、それらの両方強調金を活用したスタッドがありますが素晴らしいです。
ロンシャンバッグ http://www.oregonmayors.org/Portals/Longchamp-Rozo-c-27021_27016.html
2013-11-13 Wed 19:40 | URL | ロンシャンバッグ #EBUSheBA[ 内容変更]
mbt cheap shoes のぶかつの部活動 since 1970 vot"u
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2013-11-13 Wed 19:40 | URL | clearance mbt shoes outlets #EBUSheBA[ 内容変更]
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2013-11-13 Wed 19:40 | URL | mbt new shoes brand #EBUSheBA[ 内容変更]
キャンドルはあなたの買い物リストをpresctiptionを取る場合は、治療のためにいる、Cereriaスビラため、一般的にキャンドルトレーダーです。偶数または買い、キャンドルiallyサイズと色のすべての広大な範囲で見ることに喜びを取ることです。その後、ゴシックのGOTICダウンストリート用急落。
ロンシャンサッポロ http://www.depatriot.com/images/Longchamp-LM-c-27021_27002.html
2013-11-13 Wed 19:40 | URL | ロンシャンサッポロ #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:39 | URL | ロンシャンバック #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:39 | URL | longchamp バッグ #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:39 | URL | ホテルロンシャン #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:38 | URL | ロンシャン札幌 #EBUSheBA[ 内容変更]
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.html
2013-11-13 Wed 19:38 | URL | ロンシャン店舗 #EBUSheBA[ 内容変更]
e。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
2013-11-13 Wed 19:38 | URL | ロンシャントート #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:38 | URL | ロンシャン店舗 #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:37 | URL | ロンシャン店舗 #EBUSheBA[ 内容変更]
mbt cheap のぶかつの部活動 since 1970 vot"u
shoes mbt http://www.victoriabirkinshaw.com/online-mbt-store.asp
2013-11-13 Wed 19:37 | URL | shoes mbt #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:37 | URL | ロンシャントート #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:25 | URL | シャネル バッグ #EBUSheBA[ 内容変更]
「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.html
2013-11-13 Wed 19:24 | URL | バーバリーアウトレット店舗 #EBUSheBA[ 内容変更]
mbtshoes のぶかつの部活動 since 1970 vot"u
mbt fora gtx http://www.athillshelties.com/mbt-fora-gtx.asp
2013-11-13 Wed 19:24 | URL | mbt fora gtx #EBUSheBA[ 内容変更]
mbt 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
2013-11-13 Wed 19:24 | URL | customer service mbt shoes #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:23 | URL | TUMI 修理 #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:23 | URL | シャネル 財布 #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:22 | URL | コーチ バッグ #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:22 | URL | バーバリー財布 #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:22 | URL | シャネル コスメ #EBUSheBA[ 内容変更]
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.html
2013-11-13 Wed 19:21 | URL | コーチ アウトレット #EBUSheBA[ 内容変更]
mbt shuguli のぶかつの部活動 since 1970 vot"u
mbt shoes online http://www.kiwanislblf.org/mbt-outlet.asp
2013-11-13 Wed 19:21 | URL | mbt shoes online #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:21 | URL | tumi ビジネスバッグ #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:20 | URL | TUMI 店舗 #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:17 | URL | シャネル 時計 #EBUSheBA[ 内容変更]
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.html
2013-11-13 Wed 19:16 | URL | バーバリー通販 #EBUSheBA[ 内容変更]
mbt 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
2013-11-13 Wed 19:15 | URL | footwear mbt womens walk sneakers #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:14 | URL | chanel 財布 #EBUSheBA[ 内容変更]
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.html
2013-11-13 Wed 19:12 | URL | コーチ アウトレット #EBUSheBA[ 内容変更]
S 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
2013-11-13 Wed 19:10 | URL | カシオ Gショック #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:10 | URL | カシオ 電波時計 #EBUSheBA[ 内容変更]
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
2013-11-13 Wed 19:09 | URL | カシオ 時計 #EBUSheBA[ 内容変更]
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。
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