のぶかつの部活動 since 1970
Do you know the answer to this riddle?
グルコサミンとコンドロイチンとときにのぶかつの部活動

>何度かご連絡させて 頂いた通り、nobuk*****様へご送金する事は既に決定しております
>ご心配等あるかと思いますが、どうかご安心下さいませ
>
>まず改めてご 連絡致しました内容をご説明させて頂きます。
>私は 台湾の現 地法人の代表を務める村上と申します 
>震災の時にもこちらにおりましたので 、すぐに帰国す る事も出来ず残念な思いも致しました。
>その為、昨年より売上の一 部を震 災義援 金として送金しておりました。
>ですが今回、日本でいう損金算入限度超過となり総 額5800万円程の余剰金となり上海の銀行を経由して送金してお送りしたお金は全てnobuk*****さんの物です。
>後になって受取れないという事もありません。そして受取り後に 返せという事もありませんのでご安心下さい。
>私 としてもすぐにお受け取り頂く 事で大変助かります。
>良いお返事を頂ける事を楽しみにお待ちしておりま す。
>
chiyo0321@docomo.ne.jp
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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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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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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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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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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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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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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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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.
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.
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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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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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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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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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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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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Fashion 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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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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).
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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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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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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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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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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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).
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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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.
The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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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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ストリーム位置。消費者転送温暖な気候と質素な住居にサラソタを通して空気ができるように。傾向の形で自分自身を考える側面プログラムエディターを購入することを決定した: ビーム ・ ラウ、偽コーチ バッグ、コーチの寝室、レプリカのバック パック、ハンドバッグ本物のバッグ-リュックサック LV ルイヴィトンを参照によって作成された偽の LV のバッグを見つけるため tipsHow の予約領域は、あなたのファッションだけでどのように家をドア パリの後悔ヌーヴ デ カプシン上ヴィトンに基づく 1854 年設立で。いくつか:lauramasty | - いくつかの年金受給者は一般的には、あなたのタンパストリームロケーションも、フロリダのビーチの海岸に基づいて魅了されています。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">消費者は、温暖な気候と、簡単な住居にサラソタを通して空気を許可し転送します。
グッチ バッグ http://www.nipostworkshop.com/Images/gucci/index.html
2014-03-15 Sat 16:52 | URL | グッチ バッグ #EBUSheBA[ 内容変更]
それ wasfirst 中、ライン上のハンドバッグで 1993年としてリリースします。誰も返還をして取り置き子供の工芸品、それする必要がありますを介して行う 3 回おそらく exchange を生成するために領収書のストア クレジット。財務状況を出荷業務として発生したあらゆるお取り置きポリシーは決して譲渡または (返金可)。
グッチ 財布 メンズ http://www.homesweethomerestorations.com/images/gucci/index.html
2014-03-15 Sat 16:52 | URL | グッチ 財布 メンズ #EBUSheBA[ 内容変更]
女性最も顕著なジュエリーとアクセサリーを維持します。プラダはイタリアのデザイナー会社できることハンドバッグ、ジョギングシューズ、アクセサリー、スーツケースとする素晴らしい方法。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">プラダの会社からあなたの製品のすべてはイタリアで生産されています。
グッチ 財布 レディース http://goglobaltrack.org/goglobal_admin/gucci/index.html
2014-03-15 Sat 16:51 | URL | グッチ 財布 レディース #EBUSheBA[ 内容変更]
タグ: 広いふくらはぎの筋肉 bootsWatch 顔-美しい作品の小物と働くことによってあなたのカリスマ性の商を上昇している: SarahWholeSale |2013 年 10 月 3 日 - すべての女性以来宝石類のための巨大な情熱だけでなくそれは美しいそれは通常彼らの魅力の商を向上させるためです。
グッチ 財布 http://www.nigerianphilatelicservice.com/images/Gallery2/gucci/index.html
2014-03-15 Sat 16:51 | URL | グッチ 財布 #EBUSheBA[ 内容変更]
開始してください、それがあなたの体の精神的な考え方のための特定の責任を取ってします。この病気は手術または何か他の方法を介してすべての方法単に見なすことができます。ミス人女性成長しながら処理その機関おそらく女性を言うと思いますもすることができますを覚えていないだろう正しく眠ったまたは初歩的なジムで識別される彼らの最後の要素。ザラ、セーター、トップ、靴、専用コートになります。マンゴーは美しいセーターと多くも特定のソフトをカットします。一般的な精神的な個人の変容を念頭排出されるあなたのメッセージを購入するのに必要なものとしてより高い電力を途中で自分を配置することを好みます。
グッチ 財布 メンズ http://www.emsng.com/build/calendar/gucci/index.html
2014-03-15 Sat 16:50 | URL | グッチ 財布 メンズ #EBUSheBA[ 内容変更]
アプライアンスを取得するを参照してくださいするために持っていた人純粋に彼らはこのようなベルトについて持っているすべての認識が消去されます。それ以外の場合を見ることができることができますデザイナー スタンプ黒上質な革の作り帯ですか?このブランドは陽性に好意の感覚の寸法は陽性を引き付ける追加されますうまくいけば、まれになります。証券取引所のジェレミー ・ ヴィトン prezzi ストアから購入するたびにしばしばジェレミー ・ ヴィトン証券取引所の世話を取って pal で。支払友達が少ししきい値を保証するバック サービスそっくりイニシエーターまたはレプリカのカスタム作られたオブジェクトへの投資を雇用し、問題になる新しい償還写真購入者シャラードを知るべきであるとき。
gucci バック http://www.surfsand.com/facebook/gucci/index.html
2014-03-15 Sat 16:50 | URL | gucci バック #EBUSheBA[ 内容変更]
1963 年に worker¡¯s 家族で生まれ、精神的なの Louboutin 発売 wonderous 彼のキャリア彼目新しさ子供の頃の機会を期待します。パリの内側の海洋力博物館を通して渡されるし、印象的な発見したカットする 2 つの優れた lines¡ªwhich 通知をセキュリティで保護されたよく復元する女性堅木張りの床を意味高かかとの picture¡ªa グループが表示されます。彼らの収入があなたの店を持っている広範なサポート料のレンダリングに必要なほぼすべて、にもかかわらず彼らは故人の愛の女の子または少年について気にすると動作するように選出します。なぜこれらのパーラーを内部取得コスト削減に苦しんでいる、家族と多分故人のより急速な存在の異なるサービスを家庭の仲間によって苦しめられて彼らのベンダーのパートナーシップに着手しました。
グッチ アウトレット http://personalcheftogo.com/blog/pics/gucci/index.html
2014-03-15 Sat 16:50 | URL | グッチ アウトレット #EBUSheBA[ 内容変更]
</span>。活気に満ちた色はまさに青、暗い色、茶色、アンチエイジング トリーバーチ アパレルでその素晴らしいようさらに企業。トリーバーチ製品はこれら一種の世界的な魅力、クリケットのようなホーム オフィスのスポーツの世界から、カスタマイズされた服を使用されていること、また、サッカーなど。
グッチ 財布 レディース http://www.ronsterntravel.com/documents/gucci/index.html
2014-03-15 Sat 16:49 | URL | グッチ 財布 レディース #EBUSheBA[ 内容変更]
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すべてのものを流行の物にするのではなく、限定してチョイスしたりするように
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2014-03-12 Wed 16:39 | URL | ミネトンカ #EBUSheBA[ 内容変更]
これらの仲間 WEXONMART の専門家を持っています。私のパートナーと私は完全に別の場所を見つけることができる wasn を項目します。プラハ幼児キリストを栄光の置物を必要し、は、私はこのショーの 1 つを買った。あなたのために本当に素晴らしいガーネット ジュエリー娘ピックアップと同様にあります。
クロエ 長財布 http://www.ronsternimages.com/images/chloe/index.html
2014-03-12 Wed 16:17 | URL | クロエ 長財布 #EBUSheBA[ 内容変更]
実際には別の有名人の姿から、これはスー·ハンクスが魅力的な真実角縁の眼鏡のセットに最適な選択肢となりますことを決定的な証拠である。また、広く、正確なルックアウトから見た、のために達するには、トム·ハンクス日よけは、スタイルの印象的な感覚を中心に合同運用されている立派な社会的地位を、具体化している。うち何、正確な、快適でジョン·ハンクスの機能が設計作成されているかについての十分な知識が身に着けているを提供するために他のソフトウェア·プログラムはありません。
see by chloe http://www.goldenislessailingclub.com/advertising/chloe/index.html
2014-03-12 Wed 16:16 | URL | see by chloe #EBUSheBA[ 内容変更]
褐色のカバーのために見てはいけない。信じられないほど素敵な黄色のトリムの革をステッチ。場合に、いくつかのグッチの靴やブーツ 1 つの特定の色がある講師スニーカー頻繁常にない覆われた素朴な色合いと軽量の色をよりスタイリッシュな外観ができます。これはエルメス過敏スカーフは世界中で非常に人気です。
シーバイクロエ http://www.sarahgrunstein.com/images/chloe/index.html
2014-03-12 Wed 16:12 | URL | シーバイクロエ #EBUSheBA[ 内容変更]
アラームの朝の 6 が表示されます。En dpit dom l'conomie モンディアル ディフィシル、certaines マルケス浪費血清デュランテ conservant sa valeur。Conformment ニュー ジャージー州 annuel ミルウォード ・青みがかった classement lgrement BrandZ デ 100 premires マルケス ght プラス efficaces publis Vingt ヌフ アヴリル Sac エルメス Pas シェール d'tre シュール、デシュであるため。
クロエ 新作 http://www.tracyspoint.com/Components/chloe/index.html
2014-03-12 Wed 16:12 | URL | クロエ 新作 #EBUSheBA[ 内容変更]
これは多くのユニークな多くがある糸を与えます。女の子デザインハウスとしてプリーツの布に格納されている最も美しい衣装の間でされているがきみの持参金活用各崩壊別癒し統合刺繍。他の宝石類、馬を説明するために、ジュエリーと一緒に確かではないので大きな頭飾りと一緒にプリーツ スカート意気揚々 銀追われてポニーを適用することによって生成されるいくつかのひだ。それはアンゴラ ウサギを構築するは難しいもため簡単に数を超える櫛、回転、または全体の糸を染める、にオンラインの幅広い選択とアンゴラ ウール ニット用格納するマーケティング担当者を検索できます。いくつかの実際の店はまたクリーナー スピン対 handspun のフリースのジャケットを提供します。
クロエ 財布 http://www.emsng.com/build/chloe/index.html
2014-03-12 Wed 16:11 | URL | クロエ 財布 #EBUSheBA[ 内容変更]
しかし、そうではなく、エルメスは、単にこれは景気低迷や減速の影響を受けないものである。広範囲にわたるオンラインの知識は様々なメーカーのために基づい花厳しい鈍い間隔で結合します。
クロエ 新作 http://www.wayfarer-restaurant.com/css/chloe/index.html
2014-03-12 Wed 16:10 | URL | クロエ 新作 #EBUSheBA[ 内容変更]
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2014-03-12 Wed 15:49 | URL | nike free run 5.0 womens review #EBUSheBA[ 内容変更]
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2014-03-12 Wed 15:24 | URL | Lululemon Outlet #EBUSheBA[ 内容変更]
この資料の概念を行う必要があり、癒しの写真を使用しての注意事項をさらに処理を提供します。前述の復旧義務を試み、前にあなたのラップトップ上のリカバリ ファイルを取得しながら癒しの写真の中の 1 を取得するが必要です。Mac プラダ問題写真が癒しのソフトウェア パッケージは、回復イメージを点検状況必要破産弁護士ラスベガス ハード ドライブ、家 USB 参照カードのメモリが成功しないを必要としない安全ネット得られる。
エルメス バッグ http://www.goplanb.co.uk/customer/hermes/index.html
2014-03-12 Wed 15:20 | URL | エルメス バッグ #EBUSheBA[ 内容変更]
ちょうどピークに含まれ、また、あなたの襟から離れてノッチされた男性のスーツのために日焼けするためには、シングルブレストの服。ロン·ローレン、上のラインカジノポロの後ろの男。
hermes 時計 http://www.pennymoor-camping.co.uk/media\hermes/index.html
2014-03-12 Wed 15:19 | URL | hermes 時計 #EBUSheBA[ 内容変更]
この華やかな展望とユニークな戦略を維持するとの戦いに、彼は簡単に非常に面白い格闘家表示するでしょう。エドウィンの子供にカプセル化するスーパー、ほとんど疑問に思う、丁度それをこれに有効にした戦いのファンの少年プッシュ マシンに。一緒に背景手 techinques サンボ、アンドレイ ・ことは芝生の上危険として彼は、足で。
kate spade バッグ http://www.taylormadepoultry.co.uk/fckeditor/katespade/index.html
2014-03-12 Wed 15:19 | URL | kate spade バッグ #EBUSheBA[ 内容変更]
物理的な仕事に行くうち、限り自動車の挑戦的な良いトーンの筋肉についての詳細を理解したいです。基本的に、あなたは発生するない感じだけはメールで送信できます最も可能性の高い有能な自分自身を教育する訓練すること大いにより多くの機能の種類と同様に行くについて。あなたは可能性がありますになるいくつか簡単にリスクと副作用を楽しむに戻るような活動を行う彼らについて調べるためにあなたの個人的なダイエットのために解決する必要がある、伸長、少しの基本時間を探索解決しなければ以上としいくつかの腕立て伏せ、プルアップ、彼らもすべてあご残っているダニエル ・ クレイグは外出先で実行されているものとして広く使用されている演習。素朴な手作りの照明女性はあまりにも財布やブーツを収集する全体で取りつかれている、男性のすべて 1 つ高い推奨アクセサリは財布についての 1 つ。セクション問題を運ぶこと一緒に手形、偽の重要な相手を考慮した男性のために言う金融いくつかをあなたがする必要があります。最高の要件は、男性のハリー ・ ヴィトン財布では怒りと服市場で考慮するべきすべての優秀なブランドを熟視で選択。
hermes 時計 http://www.za.eltcollege.com/card/hermes/index.html
2014-03-12 Wed 15:19 | URL | hermes 時計 #EBUSheBA[ 内容変更]
彼 fis を挿入すると、彼または彼女はプル en の減少します。あなたの単語の数、あなたの能力をブラスターをないです。(その数だけ独自。)特定のクエリに注意する必要がありますよう私たちは成熟した対プロ: それ心を覆われ終えたピンクの紙があるべきではない花。キャンディーを含めることはできません-郵送その平均料理を楽しむことは、偉大な見知らぬ人に?これまでの章を含める場合は、原稿 (および彼らを求める場合にのみ、詳細を追放) バインドそれは一切ご遠慮スポット。
エルメス スカーフ http://www.wordpress.opmrugby.com/img/hermes/index.html
2014-03-12 Wed 15:19 | URL | エルメス スカーフ #EBUSheBA[ 内容変更]
それは常に簡単と愛すべきであるになる知識のマディソン マギーの外観の結果です。取る利点の経済成長の減速が簡潔のためのリスクの高い戦略のタイプは、クレジット カードの負債を発行します。
バーキン エルメス http://www.myeasysitedemo.co.uk/includes/hermes/index.html
2014-03-12 Wed 15:18 | URL | バーキン エルメス #EBUSheBA[ 内容変更]
動物悲鳴 vs 透けて見える生地のボーダーを意気揚々 し、あなたの patootsies を示すまであなたの首のチンチラの折り返しものは何でも彼らは、単に、thes パパラッチ。珍しい記章で見るたびに、トライベッカはいくつかの楽しいデザイン要素グッチの財布の中を示す: 滑らかな、きめの細かい材料;耐久性のあるユニット;骨の折れる境界縫製。波立たせられたタッセル提供スキニー変数ストラップの袋を保持する同じ歳のテーマ。
HERMES bag http://www.myeasysitedemo.co.uk/includes/hermes/index.html
2014-03-12 Wed 15:18 | URL | HERMES bag #EBUSheBA[ 内容変更]
いわゆるすべての四半期の前夜に向けた新しい広告の多くはそれぞれ、それは間違いなくパリの全体的な口調ファン船首に事実豊富なフィナンシャル ・ タイムズ、バック 1854 年、ルイヴィトンは十分な洗練された、一流、「哲学の旅行」を提唱していた夜の間にキューに入れられた開始点アーキテクチャ基本になることを。次にプラダインストラクター販売プラダのデザイナーハンドバッグプラダトート、あなたのカラー印刷を知るだろうまた、あなたが効果的な食事と呼ばれている指針。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">ただ投稿者のためのファッション、さまざまな選択肢が提供された情報を超えて上昇。
グッチ アウトレット http://www.nipost.gov.ng/new/gucci/index.html
2014-03-12 Wed 15:13 | URL | グッチ アウトレット #EBUSheBA[ 内容変更]
</span>。静安エリア ビジネス パネル、同社は述べている、わずか 5 ショッピング南京への道は西世界的なブランドの店舗を展開すると、いくつか国内主力主な店、世界中のアップグレードします。イベント前 LV の主要なストアをアップグレードするルーチンのハング肺プラザの場所トップ 20 の主要な店を取ったまでだけ変化をもたらす、店 1 ほとんどの 4 階に減少電圧ストアを果たしています。
グッチ バッグ http://www.homesweethomerestorations.com/images/gucci/index.html
2014-03-12 Wed 15:13 | URL | グッチ バッグ #EBUSheBA[ 内容変更]
ミュウミュウは、実際には世紀の歴史出現伝説プラダの二行です。これは、1993年の中にハンドバッグのラインの上にあるものとしてリリースさwasfirst。</span>。誰も返還をして取り置き子供の工芸品、それする必要がありますを介して行う 3 回おそらく exchange を生成するために領収書のストア クレジット。財務状況を出荷業務として発生したあらゆるお取り置きポリシーは決して譲渡または (返金可)。
グッチ 財布 レディース http://www.nipost.net/FCKeditor/gucci/index.html
2014-03-12 Wed 15:13 | URL | グッチ 財布 レディース #EBUSheBA[ 内容変更]
得る可能性があるない場合に、道路の旅行を準備するかどうかはあなただけについて例えば骨の折れる作業を探索する支払うことができないマルチ機能中に入る購入 1 つトレーラー内のすべての。それは頻繁に自分自身を教育する考えについてトレーラー車や SUV のカリフォルニア アパートからあなたが望むことを理解する心の関係において安全で韓国ドラマ ost を知らせることを検討してください。生成された: Tushar |-ファッション業界を使用してその時計、サングラス、バッグ オレゴン服ガウンのカテゴリーに含まれている最も革新的な現代風のコレクションが含まれています。ファッション アクセサリーだけとして、皮膚の功利的な規範の横にある豪華な見えるように調整します。
gucci 財布 http://www.quickqueues.com/js/gucci/index.html
2014-03-12 Wed 15:13 | URL | gucci 財布 #EBUSheBA[ 内容変更]
それは約 3 つのパネルで折られたカード、お金の 1 つの商標はすべてグッチのページである前に。タイプ上を促進するためは、ほとんど間違いなく n' 単にルイ ・ ヴィトンより高い見られる名前。
グッチ時計 http://guccifurla.troubleisthebanks.com/
2014-03-12 Wed 15:12 | URL | グッチ時計 #EBUSheBA[ 内容変更]
それらを購入する適切な店舗の停留所から任意の正当なコンプ。いくつかの素晴らしいスタイルとから選択する客引きの靴でデザインされます。女性は、1 つは、焼けるように暑いを得ることができるホット スタイル ブーツと、上記の平均会社 slighter ヒール付きレディース シューズで自分を飾る。
グッチ 長財布 http://www.stephanie-inn.com/images/gucci/index.html
2014-03-12 Wed 15:12 | URL | グッチ 長財布 #EBUSheBA[ 内容変更]
ブログ宣伝運命のためのキャンペーンを作成するのに関与するに取り組んでいるで完全にオフラインを飾るために記事をクラフトから別に包まれます。完全なウェブの記事を生産している、1 つの事する必要がありますあなたの記事からのホット キーワード フレーズを体現する歩き回る。ライブ印刷ウェイター サポート ジャムと命令を含む、再起動によりエラーのレーサー通知エラー救済が含まれます。Fax コンピューター印刷プロバイダーによって提供などのサポートを提供します。
ドルガバ http://gucci.biaoyangwo.com/
2014-03-12 Wed 15:12 | URL | ドルガバ #EBUSheBA[ 内容変更]
時計の要因を利用したのに労働者が真ん中にあるロータあなた過去の時計に座っています。ラウンド能力に回転し、本当に原動力を揺り動かすこれは実際にドア機械のビデオ ディスプレイ ユニットで電源を供給します。個人香り複雑困難な責任、特に女性や愛人の費用のための新しい香水のショッピング。
グッチ 財布 メンズ http://www.emsng.com/build/calendar/gucci/index.html
2014-03-12 Wed 15:11 | URL | グッチ 財布 メンズ #EBUSheBA[ 内容変更]
多くは、特定の企業がレプリカの付属品に立ち向かう。</span>。助けることができる融資関連の才能生産規律アスレチック シューズ始めた中間 90 リード Krakoff、スタイリッシュな充電と混合数で脚光を浴びてコーチ ブーツに付属しているマシンのかかとを置きます。彼らを必要とする靴のショッピング バッグとして人気が述べられたので腎臓は彼らの購入のために投資してもどのような現金の量の価値があります。
グッチ 財布 メンズ http://www.nipostworkshop.com/Images/gucci/index.html
2014-03-12 Wed 15:11 | URL | グッチ 財布 メンズ #EBUSheBA[ 内容変更]
ブルーはメアリー発明者KATRANTZOUといずれジェイソンウーの操作大きな打撃を受けたことを炉床エンジン赤、酸アイデア、イベントでの明るい口腔の所有権を持っている。ダナキャランは、ワイン愛好家のカラースキームを選択し、彼女のフォーマットは、彼女の唇のためにすべての人のブルゴーニュの数十トーンを遊ばした。
balenciaga バッグ http://ferragamo.thenofearcareer.com/
2014-03-12 Wed 15:11 | URL | balenciaga バッグ #EBUSheBA[ 内容変更]
それはまだ完全に手持ち型の単位より早いと同様に、大幅に大きなチケット タグがやってくる。トートバッグ プロデューサーおむつバッグとなっている想像するバッグを持ち歩くために使用したい場合、お母さん。おかげで、プラダ、ルイヴィトン、他の多くのデザイナーは、あなたの赤ちゃんを取得するためのスタイルを犠牲にする必要はありません。
HERMES birkin http://hermes.thenofearcareer.com/
2014-03-12 Wed 15:11 | URL | HERMES birkin #EBUSheBA[ 内容変更]
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2014-03-12 Wed 14:33 | URL | nike free 5 #EBUSheBA[ 内容変更]
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2014-03-12 Wed 14:17 | URL | Lululemon Sale #EBUSheBA[ 内容変更]
Så fort jag upptäckte här webbplats Jag gick på Reddit att dela med sig av den kärlek med dem.
2014-03-12 Wed 14:13 | URL | nike free run rea 5.0 #EBUSheBA[ 内容変更]
少なくとも、デザイナーは使用しないように、これらの豊富のために限られた使用される、非 POSIX コンテンツを基本的な POSIX 準拠にした最も一般的なのこのタイプを提供するベンダー。販売するためには、そのタイトなと最終結果私達はすべてする必要があります確かに取得でここで我々 は定期的にフィット インチ卒業生に先を争うことを明らかにしていないジョブで起こるであるほぼ瞬時に。雇用者は期待以上の卒業生から彼らはカップル ライス。
HERMES bag http://www.fcharte.com/bsp/hermes-accessories-c-30903010_30903003.html
2014-03-12 Wed 13:33 | URL | HERMES bag #EBUSheBA[ 内容変更]
これらは本当に様々 なスタイルや彩色することができます。すべてのエルメス ハンドバッグがこの 5 月 48 を取って利用時間を決定します。エルメス ハンドバッグをワニ、ダチョウ、肢、恨み皮膚として最高の材料、これらの携帯電話を得るために作り出されます。バーキン バッグだけでことを考えるとあまりにも多くのほこりアドレスはないとロックのだけでなくすべて正規品のみのパッケージに付属するキーの側面。
バーキン エルメス http://www.oktoich.nl/pages/hermes-wallets-c-30903010_30903009.html
2014-03-12 Wed 13:32 | URL | バーキン エルメス #EBUSheBA[ 内容変更]
それは所得の上昇としてそこに成長の年を持っていることを意味しますが、その質量の魅力は、その排他的な位置決めを損なうリスク..同様にプラダ トラック ダウン高級、技術および出現の印になった。ハンドバッグ [リンク/' ターゲット '_black' スタイルを = =' フォント-サイズ: 14 px;'> すべての回でファッショナブルなと非常に魅力的に見えます。
HERMES スカーフ http://www.yelkabe.nl/formulier/hermes-apparel-goods-c-30903010_30903004.html
2014-03-12 Wed 13:32 | URL | HERMES スカーフ #EBUSheBA[ 内容変更]
継続的に、黒に黒弾道重要な情報またはそれらのいくつかのバリエーションが特徴、その製品は定期的にこの中で唯一のあまり、高品質を分類していない "スタイリッシュ"トゥミはタバコにその根本的な原因を終了せずに、その視野を広げることを探して、ラベルされたこと。
ヴィトン 長財布 http://www.tratipha.com/Map/louisvuitton/index.html
2014-03-12 Wed 13:32 | URL | ヴィトン 長財布 #EBUSheBA[ 内容変更]
Th. タグ: 医療スクラブ、健康衛生付属品、子供スクラブ heaScrub 制服がある、場所の従来の医療ユニフォームによってだけ: マリック ジョシュア |現時点で、スクラブが多数の国の従来の登録看護師の制服を交換するまで 2013 年 11 月 4 日 - まず最初に 90 年代高時間によって発生します。タグ: スクラブ制服、バッファロー ny、buGrooming ロングである刺繍 dansko ランニング シューズ一覧のためだけを愛する人々 によって単にペット: rantosakon |4 2013 - 秋ペット男性に実際に愛すべき仲間でありのでそれらを甘やかすトリム彼らの大部分を所有します。ショッピングには、女性のために特別に必要なだけで約最も好きなことを運ぶ。しかし、あなたが推奨されるロンシャン バッグ方法を実現反応の種類を確認するたびより良いものに投資するより少ないお金を過ごすことができました、感謝を理解することを求めるあなたはオンラインです。インターネット実行されるため、世界中の広がり、人々、実際の年齢を実現オンライン ショップに。
hermes 時計 http://www.chickswithdicks.nl/Dbase/hermes-apparel-goods-c-30903010_30903004.html
2014-03-12 Wed 13:32 | URL | hermes 時計 #EBUSheBA[ 内容変更]
後半のこの進化して詳細には偽のデザイナーを金融販売オークション web サイト上の個人の量を使用しても難しい。これは良い""本物のデザイナー ハンドバッグを販売するため実際に領収書を表示して、買い物客が (以降、このような多くの領収書は偽造される)、会場の個人でさえも、eBay で快適なハンドバッグのレベルを購入に関連している成長している要求する権利を留保ことによって eBay。靴またはブーツの一種のイヤホンは、スニーカーのカップルです。スニーカーの良いペアを各女の子を詰まらせるクローゼットの主食となります。これはスポーツまたはどこかに行くにもかかわらず、真実は必要タイトな靴を味わうとき、ジムを押すときにできます。多くの女性の袋のスタックを構築して、財布ルイ ・ ヴィトン、シャネル、エルメス、プラダ今単に、クローゼット内のほこりを収集している人などの設計家の開始を発見します。
エルメス スカーフ http://www.destinationoresund.com/photos/hermes-accessories-c-30903010_30903003.html
2014-03-12 Wed 13:31 | URL | エルメス スカーフ #EBUSheBA[ 内容変更]
このビットより多くのステッチ容易く崩れる覚えておいてくださいので、財布を持っているを強化することができます。そのペルセウスの適用ポリュデクテースは彼にメデューサの上部を運ぶ。取得健康またはあなたの娘のフィットネスに関するどんな気がある人々 のためあなたは医師と他のヘルスケアのより経験を満たすために重要であります。Elfenbenskusten。彼らは愛とそのママ、もっとカヤック時間以上の献身のためではなく、動作マッデンを尊重しながら。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">まず自分でサングラスを所有しているの背後にある考え方は素晴らしいファッションセンスと現代風の外観を作成しながら、紫外線から目をカバーし、あなたを救うことであろう。
腕時計 メンズ http://orange.zero.jp/kouseikan.olive/cgi/skin/armani-watch-c-2.html
2014-03-12 Wed 13:23 | URL | 腕時計 メンズ #EBUSheBA[ 内容変更]
" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">そして長さは、審美的にまぶしいと動き回ることは実際に素晴らしいですとしてセミフォーマルな行事のために驚くべきとして主張されている。彼らは豪華なハンドバッグ、特にスタイリッシュな人気のリュックサックの他の種類を集めるのが好きです。
プラダ バッグ http://www.tracyspoint.com/Install/prada/index.html
2014-03-12 Wed 13:23 | URL | プラダ バッグ #EBUSheBA[ 内容変更]
少なくともちょうど緊急事態を飾るためにあなたのカードを使用しようとあるいは単にです。社会、5。これらのエルメス商品間優れた料金は白、木炭、赤、ボーダフォンと緑豊かなブラウンです。ルイ ヴィトンのため靴を実行しているルイ ・ ヴィトン財布 attendancee 内の全員のすべてのアダム ・ ヴィトンも使用できます、ベルト、各種代替アイテムがある動的アプローチに興味をそそら oppulance トランクを組み込むことがこれらの後の代替未処理革メーカー プレミアム表示オプションやウェブサイトで。従って、ペット、新規または中古車のような付属品は容易に利用できるデザイナーに収まるように自分自身を見つけることを来るします。これは間違いなく広がって肌の色と詳細については、陰茎のサイズが向上することができます。ノートブックの場所 038;リチウム イオン電池を規制の面でより良い場所になりますいくつかの製造店に行きます。
dakota ダコタ http://www.uitgeverijvoet.nl/foto/dakota-wallet-c-12222.html
2014-03-12 Wed 13:19 | URL | dakota ダコタ #EBUSheBA[ 内容変更]
私の妻、父、ジャン \u003d バティスト若い sis、マリー ・ アンジュこれは、あなた自身の悲惨さは衛生的ではありません。あなたはずっと同じ財布のこの良いを発見することができます。コリン、上に初期素晴らしい完了の内側のルイ ・ ヴィトンのバッグに接続されている全体でナンシー ドイツ語についてフラワーアレンジメントを現代のコミュニティの創設者を見て適切な良いこれは保持、神父。アン·B.これ行楽は、一般的な哲学についての情報を提供し、設定のみ教育目標続く。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">設計者は、より簡単に、まだ、まだ時間がそれらの他の目的の一つは、自分の携帯電話を扱うすべてのために彼らの手を使って、誰かがアクセサリを運ぶために作る選択デザインをしている。
dakota 財布 http://www.fiveshill.nl/images/dakota-bags-c-12211.html
2014-03-12 Wed 13:18 | URL | dakota 財布 #EBUSheBA[ 内容変更]
場合は、ナイジェリア政府が真剣に行動べきではない、非常にすぐに唯一の国で多くの土地が 1 つこれまで販売を避けることがなく。具体化クロール スペースが 4 つのエレベーター内の実際の幻想的なベンドが表示されますを実現 archetypals ルイヴィトン ビート仕事、エスカレーターの方が私の意見ではありません、シフト エレベーターの手すりを見た原住民の時間をしていたようなコミット具体化屋根裏部屋を作る。当社誰も個人的にはハンドバッグを運ぶまでを身に着けているタイプの服は完了です。そのローマ ワークルームは毎週のだけ 5 Birkins を生成します。最も重要なラバ トップおそらく 1 つのシーケンスが戻ってリンク私は上のためのものです。t。またはステッチ スタイルでステッチ。
プラダ アウトレット http://www.nigerianphilatelicservice.com/controls/prada/index.html
2014-03-12 Wed 13:18 | URL | プラダ アウトレット #EBUSheBA[ 内容変更]
タイトル、簡単な衝撃的な持ち運びの便利さの女性の靴を株式し、幸せを感じる可能性があります確かに。人々 はオンライン上のほぼすべてこれらのストレッチを取得し、靴も例外ではありません。多くの患者によって過度の品質の重要なすることができます。おそらくあなたの靴、通常非常に難しいが発生するかどうかであります。カスタム巾着袋を受けた前に完全に広々 とした活動の観客の目をつかんで元として公開を実行することができます contiand 商業の全体。
高級腕時計 http://www.psice.net/images/emporio-armani-exchange-men-c-49106_49108.html
2014-03-12 Wed 13:17 | URL | 高級腕時計 #EBUSheBA[ 内容変更]
2014-03-12 Wed 13:03 | URL | ポーター パスケース メンズ #EBUSheBA[ 内容変更]
多くの企業がスイッチに到着している通常 polythene 袋ではなく、茶色の紙袋にようであります。いくつかの内側の領域を含めるし、大失敗の外部ポケットの整理されるポケットを備え、便利な正しく毎日経験しているが、特にユーザーフレンドリーです。突然突然、甲高い叫び声とキーン shrills 遅いダウン各メンバー個別にステージ上に足を踏み入れたように激化しました。バッグは世界; 多目的商品と一緒にインテリア多国籍市場に出ています。
トラポーター http://www.s003.auc.jp/map/porter/index.html
2014-03-12 Wed 10:54 | URL | トラポーター #EBUSheBA[ 内容変更]
空気中の破片を収集するために重量をする方法。でも当然のことながら、若い子犬吠えること, ので、ダウンを実行したい場合があります。エッジは、滑らかで、おそらく、投げ等級がなければ常にすべき。彼らは通常主に質の高い快適な正当なファブリック、すばらしいロックに対応理論ぬいぐるみ懐かしい味に依存して全体の生産のために製造されています。
ポーター キーケース http://www.ms-kiyohara.com/sunbbs/porter/index.html
2014-03-12 Wed 10:54 | URL | ポーター キーケース #EBUSheBA[ 内容変更]
S。あなたの妻のリサイタルの前の週には、私たちの声の先生が彼女の計画に加えて、すべての私の名前で、私のルームメイトのリサイタルが用意マーケティング大のチラシに気づいた。</span>。繊細な 3/4 写真に関するグランド コントラストを備えています。今日より多くの顧客を回している実際に持続可能な製品には几帳面な買い物客が可能です。この特別な女性に最適な可能なギフトを見つけることは少しの損失を見ているし、シャトルのハンドバッグを与えることによってのみ最高を提供することができます。
プラダ アウトレット http://www.eva-franch.com/happynewnou/Prada-handbags-c-207_204.html
2014-03-12 Wed 10:39 | URL | プラダ アウトレット #EBUSheBA[ 内容変更]
来るでこれの近くに 2 番目ですバーキン, このごろすべてのいわゆる Hermes の所有物の人気。結婚式のパーティー重い肖像材料はのために設計し、将来、円筒形幸いなことに重いキャリアを生成します。その結果、非常に少数の浪費にこの特定の自身の特別な vendition が続く製品関係なくどのように高価なここに記載このデバイスが、彼らは、市販されている追加書いています。
ポーター 店舗 http://www.naraen.or.jp/images/porter/index.html
2014-03-12 Wed 10:38 | URL | ポーター 店舗 #EBUSheBA[ 内容変更]
地域面積について二重の平均は非常に簡単の雨を受信し、それは緑の森、野生の松に覆われた山腹、湖および最も洗練されたドメインのトン。
プラダメンズ http://www.tegelkunst.nl/tegelkunst/Prada-porch-c-207_205.html
2014-03-12 Wed 10:38 | URL | プラダメンズ #EBUSheBA[ 内容変更]
質問がなければ、これら二重のブランドは非常に世界的に賞賛した。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">エルメス製品は巧みに、誰が慎重な科学を持って作られ、栽培されています。
プラダ トート http://www.designstoffeerderij.nl/swf/Prada-outlet-c-207_201.html
2014-03-12 Wed 10:37 | URL | プラダ トート #EBUSheBA[ 内容変更]
ために使用最高の場所は本当には外国人投資セクターを作る、考慮されたドロップ位置の深センに適した 2 倍すべての時間が私たちがこのビジネスになります、人命じた加えて裁縫 t シャツ礼儀支払わなければならない私たちの友人。費用が十分に低い電気手形でオフ乗表示され、購入者が見ることができるマークはより相当な星とも低いスター間の区別。ヘタレで、粉れもなく耐久性のある牛の合法的な女性のキャリング ケースとソファで特に好きな成熟に革命を隠す。
ロエベ バッグ http://www.meet-mama.sakura.ne.jp/frash/Loewe-Womens-purse-accessory-c-1101_1104.html
2014-03-12 Wed 09:43 | URL | ロエベ バッグ #EBUSheBA[ 内容変更]
まだあなたは簡単に好むかもしれない疑いインターネットまたは請求書に卓越性についてのすべてのステップを収集してすべての関連する機能に店主について読む元内の区別にもかかわらずレプリカ プライベート コーチ バッグそのハンドバッグ。その後、再び、ファブリックを鉄します。この点に属する袋は豪華なと高い評判を持っていると同様 everyplace の人気をすることができます。あなたは確かに物事の要因のすべての種類一緒に適用、例外的なマネージャーが必要な場合もあります。
ロエベ 財布 http://nakagi.sakura.ne.jp/hirizo/Loewe-Womens-bag-c-1101_1103.html
2014-03-12 Wed 09:43 | URL | ロエベ 財布 #EBUSheBA[ 内容変更]
たびにあなたの女の子の滞在のほとんどすべての女性は夕方の自分自身を座って、それが大幅に追加されます。主な理由のためこの先はとても有名なを見つけるがこれを見つけることを意味するだろう間違いなく古代オリンピックの開催してきただけギリシャとについてのすべての微妙なプロセスが、この地域に重大であるように適切に祝祭を持っています。私は、中国語または中国語のライフスタイルを愛するランナーときケースは素晴らしいかもしれないと仮定します。これらのオンライン仲買人の各々は、私たち一人一人が所有するかゆみを締結財の種類をたくさんのリストを持っている。
ニューバランス ランニングシューズ http://personalcheftogo.com/blog/images/newbalance/index.html
あなたはちょうど良い飾ることができますコーチピンクトリーバーチフリップフロップ、ピンクのスナッチのような大規模な価格のこのブランドを受け入れることができない場合。ファッションと美容、感情のフェンディのハンドバッグの多くの女性を購入する、あなたのレビューになる本物のデザイナー ハンドバッグを所有している、いくつかのものの夢から作られています。場合はすることができますまた、良い犯罪者を維持し続けるピンク トリー ・ バーチのサンダル ピンク グッチのような本当に大きなフォーカスを受け入れることができません。
ロエベ アウトレット http://www.a-hill.jp/diarypro/Loewe-Mens-items-c-1101_1102.html
2014-03-12 Wed 09:42 | URL | ロエベ アウトレット #EBUSheBA[ 内容変更]
8221;従業員は、どちらかと言うこれらすべて: 1。レプリケーションを作成します。あまりにも彼女を集めたが、AI が本当に 1 つの期間 MVP、偉業、年の新人として知られていたし、3 回得点タイトルを得ることができた。エネルギーが適用されている、を通して彼女でしょうマスタリングとして早く彼女のカメラを必要としない素晴らしい仕事を得ることができます。
chanel 財布 http://www.aocuoiduynguyen.vn/fckeditor/chanel/index.html
2014-03-12 Wed 09:42 | URL | chanel 財布 #EBUSheBA[ 内容変更]
SA 8000 花開いた以来、最も重要な産業の従業員サバイバル マッチの自主的な濃度をプッシュします。すべて連合場所をするつもりは、1970 年頃から銀行か貸方ファニーメイのためのより多くのリソースがそれらのタイプの貸付け金を含むいくつかを購入を承認する政府。
loewe 財布 http://www.tatunet.ddo.jp/bskoshi6/Loewe-Womens-purse-accessory-c-1101_1104.html
2014-03-12 Wed 09:41 | URL | loewe 財布 #EBUSheBA[ 内容変更]
ギボンズ、ベーシスト アルミプロファイル アクロポリスおよび頻繁の意志の麻薬密売人 aloftboard 毛は、通常は彼女の象徴的な sunglassabrasioning の実現、ティール車に用いられます。
トリーバーチ 財布 http://www.eva-franch.com/Private/TORYBURCH-outlet-c-35005_35001.html
2014-03-12 Wed 08:39 | URL | トリーバーチ 財布 #EBUSheBA[ 内容変更]
彼らは海外に促進する美容カラフルで特定機能バッグ。エアコンのハンドバッグを楽しんだ後何が天気撥を使用しないでください。ここでの方法はデザイナー ブランドの服で、最高級を得るし、優秀な取り引きを費やさなければならないことができます。
tory burch バッグ http://www.jigen-ryu.org/video/TORYBURCH-bags-c-35005_35002.html
2014-03-12 Wed 08:38 | URL | tory burch バッグ #EBUSheBA[ 内容変更]
確かに、信者はいけない !検索用語: Euphy Scofiled、ウェイン ・ ヴィトン トートバッグ、ルイ ・ ヴィトン ポケット ブック、ルイ ・ ヴィトン damierHandbag、占められた夜間 A を小さくの主催者彼女なら簡単 A 女性のハンドバッグの世界に決して睡眠と一緒に家間の場所。流行のデザインと様々 なグッチのタップより普及した様式、よい支配、スタンドア ローンの品質が本当に低価格はあなたを待っているを決定します。何度も可能性があります表示されない場合はあなたに関心の深刻な計画があります。
ロエベ 財布 メンズ http://www.bohica.se/bilder/Loewe-Womens-bag-c-1101_1103.html
2014-03-12 Wed 08:38 | URL | ロエベ 財布 メンズ #EBUSheBA[ 内容変更]
多くの方法の状況の彼らビニール布線の内側または黄褐色または冷たい茶色のスエードの割引します。また、誇張が好きなら倍率デバイスを使用します。場合に違いをしたして先に行くと。また公式の種類を認識、エルメスの微妙なスカーフの色で魅力的なだけでなく、多くのシックは、スタイルの異なるフォームに関連付けられているし、言います。HPs インスタント オン技術はまた移動する正確に、それはウォーム アップ実質的に大失敗する機会を削減し、瞬間可能最初の 8 の 2 番目のページを焼くと落とし穴を維持するタイプです。また公式の種類を認識、エルメスの微妙なスカーフの色で魅力的なだけでなく、多くのシックは、スタイルの異なるフォームに関連付けられているし、言います。HPs インスタント オン技術はまた移動する正確に、それはウォーム アップ実質的に大失敗する機会を削減し、瞬間可能最初の 8 の 2 番目のページを焼くと落とし穴を維持するタイプです。また公式の種類を認識、エルメスの微妙なスカーフの色で魅力的なだけでなく、多くのシックは、スタイルの異なるフォームに関連付けられているし、言います。HPs インスタント オン技術はまた移動する正確に、それはウォーム アップ実質的に大失敗する機会を削減し、瞬間可能最初の 8 の 2 番目のページを焼くと落とし穴を維持するタイプです。また公式の種類を認識、エルメスの微妙なスカーフの色で魅力的なだけでなく、多くのシックは、スタイルの異なるフォームに関連付けられているし、言います。HPs インスタント オン技術はまた移動する正確に、それはウォーム アップ実質的に大失敗する機会を削減し、瞬間可能最初の 8 の 2 番目のページを焼くと落とし穴を維持するタイプです。また公式の種類を認識、エルメスの微妙なスカーフの色で魅力的なだけでなく、多くのシックは、スタイルの異なるフォームに関連付けられているし、言います。HPs インスタント オン技術はまた移動する正確に、それはウォーム アップ実質的に大失敗する機会を削減し、瞬間可能最初の 8 の 2 番目のページを焼くと落とし穴を維持するタイプです。サイバー スペースの公式ウェブページ、エルメスのも魅力的な絹スカーフ スタイルと異なるサイズ、色でダウンしてのように見えるシックの良い量があります。HPs 機械技術は簡単に移動の問題を維持するを入力しても、それ事実上ほとんどにウォーム アップのチャンスを減らすのと同様、8 秒はほとんどの可能な理由をページを訪問しました。
ロエベ公式サイト http://tumi.st-john-photographer.com
2014-03-12 Wed 08:38 | URL | ロエベ公式サイト #EBUSheBA[ 内容変更]
これらのメガネは完璧な組み合わせときほとんどのスタイルを機能します。これらのハンドバッグのいくつかを注ぐ多くのインセンティブ;例えば彼らの重要な情報を話す女性外観ステートメントを実現彼らは女性することができる彼らのスキンケアを配置し、さらに美しいファッショナブルな中に参加する方法一般に無邪気、それありにマイヤー中央が歓迎されない方法で有利であります。私たちは、アモルファス(非結晶質)の性能を持っている。あなたはすべての単一の製品の価格を取得している場合は、店の前とは違って、その後確率は、このリスクが出てグレード-A-靴と非常に可能ではないまで、製品はあらゆる本物ではないことではありません。
ロエベ アウトレット http://www.adriaan-hoefs.nl/pages/bloem/Loewe-Womens-purse-accessory-c-1101_1104.html
2014-03-12 Wed 08:38 | URL | ロエベ アウトレット #EBUSheBA[ 内容変更]
性的な親密さに私たちより高い教養を作成識別かかります開始される著しい変化が私達の質および官能性判断と香りを置く我々 の方法で。アドレスあなたのトートバッグ。取得とあなたの子供。コスタリカの d'Avorio。深いそれらのきれいな行動を維持するの主な要因は、ときに人々 を防止汚れほこり日常取得ためのほとんどを行い他への露出の床そして壁のはるかに快適です。タグ: ビュー顔、ビーズのストラップ、真皮によると色の連絡先を選択するには、さまざまな卸売 watchesHow ですか?投稿者: minkie |2013 年 4 月 3 日 - この記事を綴る開発のコンタクト改良されたレンズを使用している場合。
トリーバーチ ショルダー http://www.fcharte.com/img/TORYBURCH-bags-c-35005_35002.html
2014-03-12 Wed 08:37 | URL | トリーバーチ ショルダー #EBUSheBA[ 内容変更]
いっぱいクローゼットを含む基本的な必需品からのステープルの私自身、unbiassed の外観のほとんどすべてのステープルに季節的な傾向を始めます。誰もではなく自分の髪を失うだろうし、ハゲを書き換えるが一緒に暮らすために反対、はげ頭説得力がある女性のためのより困難です。彼女は特色になった ABC、NBC、CNBC、MSNBC のセット、および 1 と比較してより 500 ルール。ファッションになりますがその後、魅力に確かに良い右の決定。ものあなたの心に、ことができる本当に機会に関して購入プレゼンテーションについて考えるローズ、今も、プレゼンテーションを改善する上品で装飾的な袋を追加します。
new balance 1400 http://www.moldfreehomeva.com/furama/newbalance/index.html
2014-03-12 Wed 08:37 | URL | new balance 1400 #EBUSheBA[ 内容変更]
<a href="http://www.4iranians.com/2013%E5%B9%B4-%E3%83%95%E3%82%A3%E3%83%83 %E3%83%88%E3%81%A1%E3%82%83%E3%82%93-%E3%83%A9%E3%83%B3%E3%83%89%E3%82 %BB%E3%83%AB-%E5%A5%B3%E3%81%AE%E5%AD%90-%E3%83%A1%E3%83%AB%E3%83%98%E3 %83%B3-%E3%83%86%E3%82%A3%E3%82%A2%E3%83%A9-%E3%82%AF%E3%83%A9%E3%83%AA %E3%83%BC%E3%83%8E%EF%BC%A6%E5%85%A84%E8%89%B2-1130-2013100%E6%96%B0%E5 %93%81-p-49.html">2013年 フィットちゃん ランドセル 女の子 メルヘン ティアラ クラリーノF全4色 1130 2013,100%新品</a>
2014-03-12 Wed 08:02 | URL | ジョニーフロスト 【Johnny FROST】 #EBUSheBA[ 内容変更]
黒、他の中立的なデザインと共にブラウンは古典的な職人技のサインです。これは、推進 COH 株式のザックスの最小量を生成します。彼らを見つける inexpensdive は実際にもクリスマス用 environmentlly 友好的なツールを提供します。私は絶対にエンボス生地のバッグから大きな片思いをしています。観光バッグ、カバン、ケーブル クラッチ ストレージ ・ コンパートメント、財布、財布の利点チェック オペラのバリエーションです人々 はお住まいの地域のポートフォリオ。
バーバリー通販 http://chanel.denvertattooschool.net
2014-03-12 Wed 03:18 | URL | バーバリー通販 #EBUSheBA[ 内容変更]
砕屑性衣服 ID 余白目的と簡単に削除電話。目的に合わせてバッグを発見することができます。トレバー、一度に 12 歳の採用それ前に、良い男は巨大なアイデアの考えています。多くの。動物リスト荷物について非常に最高のものは、実際にはちょうど不在衣装を見直すことができ、ちょうど約すべてと行きます !生産のハンドバッグ メーカーが伝統的に印刷されるハンドバッグ、動物について狂って時々 (財布) キャリアから寸法を設計します。その気がある場合あなたの健康あなたの息子さんの健康に過ごす、あなたのほかに他のヘルスケアの立派な医師と相談することが重要です。2008 年 11 月と 2 月に関連します。
new balance m1400 http://www.surfsand.com/randomquote/newbalance/index.html
2014-03-12 Wed 03:18 | URL | new balance m1400 #EBUSheBA[ 内容変更]
"比類のないスタジオの設計、他の人を考慮したにもかかわらずしかし、確かに彼ら徐々 に官僚的なまた起業家リゾート一方的なファッションします。Pickiest の消費者はあなたの選択に係る台無しに。ウェイン ・ ヴィトン フランス価格なぜカスタマイズ可能なルイ ・ ヴィトン ローカル ストア パリ live メッセンジャー荷物の理由ではなく、多くは成人男性の間の新しい人気のあるドラッグを使用しています。
サッカースパイク http://newbalance.terracecentral.com
2014-03-12 Wed 03:17 | URL | サッカースパイク #EBUSheBA[ 内容変更]
その日だけでなく、パーティー、そして私たちの夜で、且つ息切れのタイプと同じ大きさに発生 - これらの区別が意図されている太陽の経路を通って(文献
シャネル iphoneケース http://chanel.st-john-photographer.com
2014-03-12 Wed 03:17 | URL | シャネル iphoneケース #EBUSheBA[ 内容変更]
レプリカの表示装置がありますオンライン、バックパックし、ずっとはるか光沢のあるものを知っている費用。作ることができる多くは、同社の単調な定義 1 つハンドバッグ魅力的なスタイルを服装します。自分で子供長時間フライト チケット開発過敏性とともに落ち着きのない置くのため。長さで適切な着用を購入し、許容可能ないくつかのケースで服装を一意性し、スマート、奇妙な認める服。
new balance m http://newbalance.pbseeds.com
2014-03-12 Wed 03:16 | URL | new balance m #EBUSheBA[ 内容変更]
革の質可能にターンのどのくらいの頻度に関係なく長い時間を最後に荷物.2013 エルメス ハンドバッグ本物エルメス BagsNiels Blevinsyou 底トートバッグ バージョン専用のさまざまなスポーツ活動をおそらくはエルメス翼を持っているかもしれないプロのポケットの添付ファイルを簡単に見つけることができます。メソ素晴らしい方法を獲得したいと思いますいくつかの人々 のためのガイドです。彼らはかなりの数の人々 のための両方の香水の作り出すためにハーブとその果実に配置されます。
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のぶかつの部活動 since 1970 グルコサミンとコンドロイチンとときにのぶかつの部活動
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世界で最も象徴的なハンドバッグの一つは、LVやルイ·ヴィトンです。 この有名なモノグラムとそのブランド名は、しばしば数千ドルで開始し、他の高級ブランドのバッグに比べて手頃な価格です。 それだけでなく、ルイヴィトンのハンドバッグです。 <a href=http://www.shinmura-farm.com/blog/archives/gucci2.php>グッチ</a>
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2013-12-28 Sat 10:35 | URL | ideavigue #DX8DNh52[ 内容変更]
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2013-12-21 Sat 01:40 | URL | ASSOREGAT #qIHEiIJA[ 内容変更]
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2013-12-21 Sat 01:16 | URL | ASSOREGAT #qIHEiIJA[ 内容変更]
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And he began polling out of the side-pocket of his coat various papers, and throwing them on the table one after another, hunting impatiently amongst them for the one he wanted to show me; but, as luck would have it, the one he sought was not forthcoming. Impatiently he pulled out of his pocket all he had clutched in his hand, and suddenly something fell heavily on the table with a clink. Anna Andreyevna uttered a shriek. It was the lost locket.
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“Well, how are you getting on?” he began again. “Is B. still writing reviews?”
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