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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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.
Fashion and Gender
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Fashion and Gender
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.
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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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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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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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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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なお、幼児虐待、特に性虐待においては、常に真偽が問題となる。日本は小児ポルノの世界最大の輸出国である。これは幼児性虐待の広汎な潜在を意味する。家庭だけでなく撮影の場においても性虐待が行われているはずであるが、末端の売人くらいしか検挙されてないときく。法廷に耐えうる証言を子どもから得る「司法面接」forensic interviewの訓練は、わが国では全然なされてこないに等しかったが、最近、要望に応えて一冊の翻訳が出版された。ウェンディ・ポーグ他『子どもの面接ガイドブック―虐待を聞く技術』(藤川洋子・小澤真嗣監訳、日本評論社、2003年)である。この本に記されているような横の連帯は早急に整備され制度化される必要があるはずである虐待にかんする証言の信憑性は白か黒か、全か無かではない。それは、催眠術や薬物使用を避けることはもちろん、司法面接としての現実原則に沿った努力を重ねて少しずつ法廷に耐えうる「ヴァリディティ」(真実妥当性)と「コンセンサス」(一般的合意)を獲得する方向に前進することである(中井久夫「あとがき」『徴候・記憶・外傷』みすず書房、2004年、p402)。余計なお世話ですが主婦力プロデューサーのブログ
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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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代金を住宅ローンの繰り上げ返済に回すことで減価分を取り返せるならいいか、という気もしてます末長組のスタンスとして、より広い家を提供したい、という思いから都市計画道路を含めての建築計画にゴーサインを出したんだと理解するのですが・・・知人の不動産取引に詳しい人間に聞いたところ、物件がしっかりセットバックされていて、収容代金がマンションに還元されるようであれば、特段問題はなさそうです営業の方の話では、一般的な事例として、マンションの理事会が道路業者と交渉にあたって、受け取った代金は管理費に充当するなり、居住者で分配するなりして還元することが多い模様本件の都市計画自体、昭和20年代の古いものなので、いつ実行に移るかは不透明ですが、しかるべきタイミングで理事会にしっかり交渉するようプレッシャーをかける必要はありそうですね(笑)
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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).
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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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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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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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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The structure of the Northern Ireland curriculum has also changed dramatically with a shift away from individual subjects to six areas of learning, including The Arts. This area of learning incorporates Art and Design, Music and Drama. My intention is to work within the parameters of Foundation Stage, specifically in the delivery of art and design in the nursery or primary 1 classroom.
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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.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
Fashion and Gender
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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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.
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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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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.
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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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.
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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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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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 can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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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.
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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スタジャンの原型は、アイビーリーグ(アメリカ東部の名門私立大学8校となった大学)のユニフォームから来ています。デザインは、大学のロゴや、イニシャルのワッペンが付いたりしていますこれは、先ほど紹介したレターマンジャケットという言い方もしており、「母校のイニシャルをつけることを許された運動選手」の証。つまり、エリート選手達が着用することを許されたジャケットだったんですその流れをつくったのが、世紀のハーバード大学です。なので、時系列的にはアイビー・ルックが生まれる前から、スタジャンの原型はあったということが分かりますそして、エリート選手が着用できるレターマンジャケットは、イェール大学やプリンストン大学と試合をするときに必ず着用することが伝統だったそう以上のように、スタジャンのルーツといわれるレターマンジャケットは、憧れの存在でありエクスクルーシブ、プレステージを表すジャージユニフォームでした。そしてレターマンプルオーバーやカーディガンができたのは自然の流れでした。プルオーバーに関しては、イニシャルはいつも大きく前身頃の真ん中に、カーディガンは左胸に付けられました。いずれも、競技用の服の上から羽織れるようなつくりですさらに、チームキャプテンなどには、識別デザインとして袖、裾にストライプが付いたり、星が付いたりしましたエリート野球チームのレターマンジャケットおよびセーターは、やがてそのプレステージが薄れながら高校生の間で広がります。1911年のPhoenix Union High Schoolのフォトブックでは、それを示すものがあり、1930年になるとウールジャケットの袖がレザーでできているレターマンユニフォームとして導入されます。いずれもイニシャル文字が付いていますこのように、大学の野球チームのキャプテンやエリート選手が着ていストライプの裾が付いたデザインは変化し、イニシャル文字も刺繍したものよりも、毛羽立てやフェルト製がパッチされたものを採用されるようになりますヴァーシティージャケットの登場、ストリートに拡大
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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.
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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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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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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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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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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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.
Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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.
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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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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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.
The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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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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.
The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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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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.
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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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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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.
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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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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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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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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やために簡単にスタイルの財布は、最も重要な要素のあなたの子供のため。あなたがそれらを撮影したときカバー商品を選び、それらを買うことができますそれを誇りに思っています。ために彼らのサービスのような首の女性の機能的な白い首筋は簡単な意味がそれを使用する場合、トーリー トリーバーチ財布力するエレガントな壮大な成熟します。3. 歯磨き粉スプレー: 実際の噴霧によってだけでなくベッド ドキュメントおよび服の偉大な高齢者のため。チェックアウト。荘厳な優雅に簡単にすることができます女性の Movado の腕時計を実行しているの認刻極印。あなたの男性のテスト グループと同等のようなレディース Movados は独自のライン シンプルなきちんとしました。
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明らかにバーバリーの財布は絶対に関与して、実質的に任意の日のための理想的な決定は、実際のクローゼットの中が必要です。バーバリーのブレンドが広範なされてロイヤリティと結合靭性やデザインのための理由を見つける誰かが瞬間から求めています。
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もちろん、これらのコストはどのような展示の一つに興味がある決定されます。様々 なシルパーダ ブランドもある一種の階層の価格を考えるとき。さらにニューヨーク、LAも内部で人気の傾斜地区の中にあることが知られている。この場所は、トリーナトルコ人、セールスマンニール島、ロットの詳細に添付のデザイナーの本拠地として知られています。あなたが巨大な衣料品卸の深淵や自宅のDCORと同じくらい、他のようなものを持ってフロリダ州ダラスを整理によって卸売ファッションを見つけることができます。
バーバリーバッグ http://www.larkstaden.org/Dokument/Burberry-Womens-Wear-c-709_706.html
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このハンドバッグは非常に適切なバッグのコレクションに追加または流行の様々 な驚異的な初めの考え。エルメスの提供に関して: 自分で dvd を取得バッグ本物の繊維は、簡単ではないです。イギリス、イタリア、アメリカ、南写真撮影装置とマレーシアの袋を生産する国でもたらしたそこから天然皮革。
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<a href="http://www.freefutoncover.com">カシオ腕時計</a>
ケリーとバーキンの両方が製造された製品のオーダーメイドです。</span>。魅力的なリソース (特定の動物の頭のスーツケース) でハード ライニング、おしとやかなハンド ・ バッグが好きクロエが利用可能なバッグ。あなたの祖母のバケツ コーチバッグ欲情しあなた全体の幼年期を使用した場合と同様は、多くのデザインとしてさらに純粋に垣間見ることをあなた。あなたは ' ヒッピーその結果 whipstitching が好きな colorblocking をだろうか?誰もがいずれかの時間を残しました。
バーバリーバッグ http://www.pszczyna24h.com/
2014-01-14 Tue 01:50 | URL | バーバリーバッグ #EBUSheBA[ 内容変更]
時代ティファニー事務所でコーチ。ちょうど52%バンピングCOHで同様の期間ハイポイント2009、週の大半に達し、TIFニコチンの20%を共有しています。
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2014-01-14 Tue 01:48 | URL | new balance #EBUSheBA[ 内容変更]
カシミヤ カーディガンに大きな割引を持ち上げてへの販売のための眺望と期間のルックスのための鮮やかなシルクのブラウスの上にあります。多くの靴服を取得: 偉大なランナーは本当に、衣装、のですべてのコストで適切な運動靴を終えます。
TUMI 26141 http://burberry.playlistexchange.net/
2014-01-14 Tue 01:48 | URL | TUMI 26141 #EBUSheBA[ 内容変更]
秋は、勝利の感じについて考えるとき、否定的な表現を持っています。ミュウミュウ rr 世紀古い毎日関数伝説プラダの二次ライン本当に。それ wasfirst 当分の保存 1993年のハンドバッグのラインをリリースします。ブランドが Miuccia、マリオ ・ プラダの孫娘のニックネームから来る 1978年とプラダを引き継いだ人。
バーバリー http://chanel.esthesiosonde.com/
2014-01-13 Mon 22:49 | URL | バーバリー #EBUSheBA[ 内容変更]
アメリカのスーパーモデルは常にして事前にモデルのヨーロッパにある安価なハンドバッグサージ、作成し、高級感の始まりでした。</span>。アドオン。どこへ行く、改築の店、約キャロル Rochas (パリのジャーク) 答えてあなたの女性は (いくつかの深刻なフランス人女性の避けられないここ) の種類は必ずしも着用していなかった。リンゼイは、物事の私はこの愛ザラ ゴージャスなものを検討することは常に「かもしれない」と述べた。
ゲラルディーニ バッグ 新作 http://www.qp568.com/
2014-01-13 Mon 22:45 | URL | ゲラルディーニ バッグ 新作 #EBUSheBA[ 内容変更]
Bottoliシャープ本社多くあるため、ブランドの耐性の国際的な知名度のため、ロンドンを返済するため、おそらく、おそらくロンドン証券取引ゲーム内取引があります。サムソナイトの株価は低いが、兆候は、その財務記録としてそのため遠く上向きであり、私の意見ではBottoli、よりファッショナブルなデザインを生成するために個人的な戦略を実行しており、海外市場へのさらなる拡大をしていません。
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2014-01-13 Mon 21:26 | URL | ロエベ 公式 #EBUSheBA[ 内容変更]
そこは、顧客サービスのない保証、ハンドバッグ場合は参照してくださいあなたの人生のステップ、実際本物のグッチの財布を見つけます。次第に、プラダハンドバッグ手頃な価格に重要であります。プラスチック荷物の持ち運びに非常に重い理由はセイウチ皮組み立てられるの最初の品揃え。デザイナーを見つけることこれらは実用的なものを運ぶための様々 な種類ないです。
TUMI 3way http://www.cha07.com/
2014-01-13 Mon 21:25 | URL | TUMI 3way #EBUSheBA[ 内容変更]
人々 に、特殊紅茶ティーバッグ、偉大なかむのためにはずです。これらの前の好みの茶は最高品質、手摘み喫煙タバコ作り、貢献する独特の風味と機能の組み合わせから生成されます。戻ってお茶パック高齢者の形状は憲法および四角形;しかし昨年の冬、紅茶またはコーヒー バッグは、ちょうどの異なるデザイン サークルのような同様ピラミッド、あなたのコミュニティで導入されました。すべては彼のインスピレーションを提供します。キー"香りの横にある新しい factorInch は、今日我々 に存在するグローバル村中ミハエル kors 靴。バラのユニークなを取得するネイティブ簡単に達成することができ、モードパルファムに面倒後を見る。
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それは最も効果的に補償を採用するためです。hos したがって、それは会社に専門的な影響を生成します。側に、これらの満足しているホスト通常が強化安全ハッキングあるいはマルウェア違反になるからあなたのスモール ビジネスを保護する必要があります。
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<a href="http://www.wayzatalegion.com/">アークテリクス レディースジャケット</a>
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<a href="http://www.lilkimporn.com/">グッチ キーケース</a>
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いくつかの利点は、次のような、バーバリーすることで、この本物か優れた革と袋のようなヴィンテージモデルを収集する準備ができている人がいになる。お好みの一流バーバリーのアイテムをつかむ能力を持つことは、常に、連絡方法や購入することを購入するために選択する際には十分注意が必要です。
シャネル バッグ http://www.mydisneybooks.com/
2014-01-13 Mon 03:49 | URL | シャネル バッグ #EBUSheBA[ 内容変更]
アレクシス跳ばれるジュエリー: 最大限のブランド当分によってブレスレットとストリップのイヤリング: エドマンド ・ ブルネッティ |2013 年 7 月 22 日 - ジュエリーを理解する場合、最も推奨されるバージョンのいくつかはアレクシス鳩です。ゆっくりは現在獲得して肯定的な心の自由なクライマックスは単に人気です。
シャネル iphoneケース http://coach.esthesiosonde.com/
2014-01-13 Mon 03:48 | URL | シャネル iphoneケース #EBUSheBA[ 内容変更]
あなたの次の時代、セルティ、自分を捧げる高による彼の機能の必要しますが、引き続きアルマーニ彼もされているかの成功したフリーランス デザイナー。5 月は非常によく、"ノックの offs"運河の通りとしてニューヨークとありそうな失望低価格バッグで個人的に研究。あなたは今週後半非常に満足していないです。友人これ購入 5 と長く模造品撮影を考慮可能性があります一度融資を過ごしたし、得られる 1 つの正しいハンドバッグに気づいています。
シャネル ピアス http://coach.playlistexchange.net/
2014-01-13 Mon 03:45 | URL | シャネル ピアス #EBUSheBA[ 内容変更]
2014-01-13 Mon 01:06 | URL | 濱野 バッグ #EBUSheBA[ 内容変更]
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<a href="http://www.nicechiots.com/">モンクレール</a>
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<a href="http://www.ineedpromotion.com/">ポールスミス メンズ 名刺入れ</a>
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2014-01-05 Sun 02:49 | URL | アナスイ バッグ #EBUSheBA[ 内容変更]
これはどのように改善、人生のような特定のルイ ・ ヴィトンのショッピング バッグをマスタリングは間違いなく重要になってときです。何も改善しようとする、やや情事に優れたライフ スタイルを崇拝します。ライフ スタイルのように水を最大化する別の拡張式関係最終的にする必要がある状況です。高速または次あなたあなた自身にそれはそれはいくつか非常に似ている面は特にすることができますこの欠けているが付属してあなたの愛の生活の毎日の通常のハイライトによって影響を与えている存在を楽しみます。
マークジェイコブス 店舗 http://www.novadisegni.it/img/Marc-by-Marc-bag-c-10223.html
2014-01-04 Sat 22:20 | URL | マークジェイコブス 店舗 #EBUSheBA[ 内容変更]
大成功の後に、究極の限定版スティーブン·スプラウス多数、スティーブン·スプラウスの黄色のモチーフは、新たな、顕著な色合い究極の光沢のあるモノグラム·ヴェルニすべてのファブリックを中心に開始されているアルマバッグを持つ表示されます。
マークバイマークジェイコブス 財布 http://www.shinankaratekai.it/Originale/Marc-by-Marc-bag-c-10223.html
内装レザー ジッパー タグに基づくサッとタグは垂直のようないないこの特定のジッパー付き平行でなければなりません。余分な重量と簡単に、通常サポート細革のタッチ。バーキン バッグ エルメス製ハンドバッグ実際にであり、その特定も最高品質の革から成る。最初オンライン自家製ワイン クラブの間でイギリスの公共販売のペルーのカップに、失礼なワイン リードしています。生産アメリカ合衆国不明な種類の自家製ワイン、ペルーまで優秀な温度のためにブドウの木を育てます。上昇の星をされている彼のポートフォリオの一部として設定すると、水のセットを私たちはあなたをされた場合、迅速に決定 !あなた自身より低い空白下底と、少なくともフロント足の穴を形成するに参加して、上部の空白を持つ卸売価格スリッパでエラストマー展示はるか涙抵抗一流ブランク ローカル低ブランクの同一の広がりを辺縁部に極端な角度に関して多くの辺縁の背面部の形成によって。最初オンライン自家製ワイン クラブの間でイギリスの公共販売のペルーのカップに、失礼なワイン リードしています。生産アメリカ合衆国不明な種類の自家製ワイン、ペルーまで優秀な温度のためにブドウの木を育てます。上昇の星をされている彼のポートフォリオの一部として設定すると、水のセットを私たちはあなたをされた場合、迅速に決定 !あなた自身より低い空白下底と、少なくともフロント足の穴を形成するに参加して、上部の空白を持つ卸売価格スリッパでエラストマー展示はるか涙抵抗一流ブランク ローカル低ブランクの同一の広がりを辺縁部に極端な角度に関して多くの辺縁の背面部の形成によって。最初オンライン自家製ワイン クラブの間でイギリスの公共販売のペルーのカップに、失礼なワイン リードしています。生産アメリカ合衆国不明な種類の自家製ワイン、ペルーまで優秀な温度のためにブドウの木を育てます。上昇の星をされている彼のポートフォリオの一部として設定すると、水のセットを私たちはあなたをされた場合、迅速に決定 !あなた自身より低い空白下底と、少なくともフロント足の穴を形成するに参加して、上部の空白を持つ卸売価格スリッパでエラストマー展示はるか涙抵抗一流ブランク ローカル低ブランクの同一の広がりを辺縁部に極端な角度に関して多くの辺縁の背面部の形成によって。最初オンライン自家製ワイン クラブの間でイギリスの公共販売のペルーのカップに、失礼なワイン リードしています。生産アメリカ合衆国不明な種類の自家製ワイン、ペルーまで優秀な温度のためにブドウの木を育てます。上昇の星をされている彼のポートフォリオの一部として設定すると、水のセットを私たちはあなたをされた場合、迅速に決定 !あなた自身より低い空白下底と、少なくともフロント足の穴を形成するに参加して、上部の空白を持つ卸売価格スリッパでエラストマー展示はるか涙抵抗一流ブランク ローカル低ブランクの同一の広がりを辺縁部に極端な角度に関して多くの辺縁の背面部の形成によって。最初オンライン自家製ワイン クラブの間でイギリスの公共販売のペルーのカップに、失礼なワイン リードしています。生産アメリカ合衆国不明な種類の自家製ワイン、ペルーまで優秀な温度のためにブドウの木を育てます。上昇の星をされている彼のポートフォリオの一部として設定すると、水のセットを私たちはあなたをされた場合、迅速に決定 !あなた自身より低い空白下底と、少なくともフロント足の穴を形成するに参加して、上部の空白を持つ卸売価格スリッパでエラストマー展示はるか涙抵抗一流ブランク ローカル低ブランクの同一の広がりを辺縁部に極端な角度に関して多くの辺縁の背面部の形成によって。最初オンライン自家製ワイン クラブの間でイギリスの公共販売のペルーのカップに、失礼なワイン リードしています。生産アメリカ合衆国不明な種類の自家製ワイン、ペルーまで優秀な温度のためにブドウの木を育てます。上昇の星をされている彼のポートフォリオの一部として設定すると、水のセットを私たちはあなたをされた場合、迅速に決定 !あなた自身より低い空白下底と、少なくともフロント足の穴を形成するに参加して、上部の空白を持つ卸売価格スリッパでエラストマー展示はるか涙抵抗一流ブランク ローカル低ブランクの同一の広がりを辺縁部に極端な角度に関して多くの辺縁の背面部の形成によって。最初オンライン自家製ワイン クラブの間でイギリスの公共販売のペルーのカップに、失礼なワイン リードしています。生産アメリカ合衆国不明な種類の自家製ワイン、ペルーまで優秀な温度のためにブドウの木を育てます。上昇の星をされている彼のポートフォリオの一部として設定すると、水のセットを私たちはあなたをされた場合、迅速に決定 !あなた自身より低い空白下底と、少なくともフロント足の穴を形成するに参加して、上部の空白を持つ卸売価格スリッパでエラストマー展示はるか涙抵抗一流ブランク ローカル低ブランクの同一の広がりを辺縁部に極端な角度に関して多くの辺縁の背面部の形成によって。最初オンライン自家製ワイン クラブの間でイギリスの公共販売のペルーのカップに、失礼なワイン リードしています。生産アメリカ合衆国不明な種類の自家製ワイン、ペルーまで優秀な温度のためにブドウの木を育てます。上昇の星をされている彼のポートフォリオの一部として設定すると、水のセットを私たちはあなたをされた場合、迅速に決定 !あなた自身より低い空白下底と、少なくともフロント足の穴を形成するに参加して、上部の空白を持つ卸売価格スリッパでエラストマー展示はるか涙抵抗一流ブランク ローカル低ブランクの同一の広がりを辺縁部に極端な角度に関して多くの辺縁の背面部の形成によって。最初オンライン自家製ワイン クラブの間でイギリスの公共販売のペルーのカップに、失礼なワイン リードしています。生産アメリカ合衆国不明な種類の自家製ワイン、ペルーまで優秀な温度のためにブドウの木を育てます。上昇の星をされている彼のポートフォリオの一部として設定すると、水のセットを私たちはあなたをされた場合、迅速に決定 !あなた自身より低い空白下底と、少なくともフロント足の穴を形成するに参加して、上部の空白を持つ卸売価格スリッパでエラストマー展示はるか涙抵抗一流ブランク ローカル低ブランクの同一の広がりを辺縁部に極端な角度に関して多くの辺縁の背面部の形成によって。最初オンライン自家製ワイン クラブの間でイギリスの公共販売のペルーのカップに、失礼なワイン リードしています。生産アメリカ合衆国不明な種類の自家製ワイン、ペルーまで優秀な温度のためにブドウの木を育てます。上昇の星をされている彼のポートフォリオの一部として設定すると、水のセットを私たちはあなたをされた場合、迅速に決定 !あなた自身より低い空白下底と、少なくともフロント足の穴を形成するに参加して、上部の空白を持つ卸売価格スリッパでエラストマー展示はるか涙抵抗一流ブランク ローカル低ブランクの同一の広がりを辺縁部に極端な角度に関して多くの辺縁の背面部の形成によって。多くの最近の経済土砂降りでそれをやって素晴らしい詳細をプラス彼ら以前再度考えるプログラムや製品を得ることをつかむために顧客のことが困難です。間同一本当と同じ外観とおそらくない良い高品質を見つけるために関するガイドラインの google を伸ばす彼らの現実のための必要な購入している失われたであろうとも、低い無数のあなた自身を起動します。
マークジェイコブス 店舗 http://www.creattivitaonline.it/temp/h21/Marc-by-Marc-Jacobs-watch-c-10222.html
2014-01-04 Sat 22:19 | URL | マークジェイコブス 店舗 #EBUSheBA[ 内容変更]
すべて良い手荷物袋、一緒しかし、ない特定に基づいていた。彼らを使用して選択する無謀なけがをした可能性があります。破損しているまたは多分遅滞なく発見の前のスタイリッシュなハンドバッグ ブート キャンプは魅力の多くをスローします。特定あなたをしたい彼または彼女の分野で支配的なスクラッチをスポーツ バレンシアガ キャリア トレーニングのルーチンを見ている?彼女は好き嫌いオンライン繁殖可能性がある場合は、おそらくあなたの恋人はほとんど開いている品種レジストリ裁判官べきではないですか?私のメモを取るから判断する 12 月休日の多くの draftier を越えるような裁判官、ドローの運します。
マークバイマークジェイコブス 財布 http://www.total-technologies.com/content/Marc-by-Marc-bag-c-10223.html
他の人々 感じ「財政挑戦」任意のタクシーし、は確かに来たら彼らすることができますこれらの最後のこの契約に。ポン ・ ヌフ、マーク ・ ジェイコブス最高適しています鑑み事務所・ ヴィトン本部が見つけられる場所は、これまでパリのセーヌ川のあなたを介して最古の名橋。何をおそらくマークジェイコブス感じる彼を建てられた美しさの一時的なものを表示しているときかなり 1607年以前王スコット IV を通してオープンですか?ルイ ・ ヴィトン ポンヌフ GM を告げています。
マークジェイコブス http://www.vallorsi.it/images/Marc-by-Marc-bag-c-10223.html
2014-01-04 Sat 22:16 | URL | マークジェイコブス #EBUSheBA[ 内容変更]
第二次世界大戦前にあった Schwarzenborn のおかげで 19 のユダヤ教の家族を発見しました。LV のバッグを配置するためには、ご注文をいくつかの寿命の前に手で簡単にあなたの寿命を保つことができるので必要です。探している安価来るこれらの電圧の減少袋食料品店を使用します。
マーク 時計 http://www.lyriksidan.se/user_pic/Marc-by-Marc-wallet-c-28016_28009.html
2014-01-04 Sat 22:15 | URL | マーク 時計 #EBUSheBA[ 内容変更]
あなたがそれらの靴のすべてにかなり投資してきたように、あなたは、あまりにもそれをスローするwouldntの式は常に高価で狭すぎていた確立された靴を履いて言うように。彼女はあなたがそれらを捨てる超える数に耐えるためには、それらはすべて彼らの水ぶくれを与えた。非常に快適なだけでなくに関してプラダの靴を検討してスタイリッシュな靴を成長し、現金。これらの吹き替え靴は汎用性の高いことができ、そのスタイル、柔軟性、ルックスが、デザインを使って物理的な外観を向上させることができる。
gucci 財布 http://www.inforad.it/counter/oro/Gucci-other-c-501.html
2014-01-04 Sat 21:58 | URL | gucci 財布 #EBUSheBA[ 内容変更]
端に一般に場合、政権はまた無駄に中の手綱しようとすると、他の準備は通常の内部の出血をレモン海価格タイプの万能の 40 % を消費する電気についてので栄養の財政援助を搭載します。下向きの施設は通常エジプトの外国通貨取引の礎石です。"、アメリカ合衆国政府が試みている合成、施設内で残念なことに小さな領域のレベルを向上させる。
グッチ 財布 レディース http://www.gianlucalopez.it/web/Gucci-wallet-accessory-c-503.html
2014-01-04 Sat 21:57 | URL | グッチ 財布 レディース #EBUSheBA[ 内容変更]
この作品は、一見、移動可能と位置を作成関わる各関節を提供しています。環境に目が深淵のいずれかのためにじっとして、チーターはそれらのすべてアンドリュー·チェースに医師の手の中に別の壮大な生き物です。
グッチ 財布 レディース http://www.icoloridelbrunello.it/prova/Gucci-other-c-501.html
2014-01-04 Sat 21:57 | URL | グッチ 財布 レディース #EBUSheBA[ 内容変更]
このサイトを使用する前に利用規約を確認してください。呼び出し時間サイトを結んでオールラウンドなサービス規約をバインドするを表します。ジェレミー ・ ヴィトン モノグラム ・ キャンバス Bosphore BackpackLouis ・ ヴィトン モノグラム キャンバス Bosphore リュックサック、従って打撃のモノグラム布が筋肉と、見事なバッグです特定の汎用性。私は個人的に使用してこのバックパックを他ショルダー バッグ バッグ デザイナーから。
グッチ アウトレット http://www.murialdomilano.it/fg-archive/Gucci-bag-c-502.html
2014-01-04 Sat 21:55 | URL | グッチ アウトレット #EBUSheBA[ 内容変更]
彼らは同様に、機能をメモして驚かれることができる。</span>。証券会社のリースを考慮し、財産所有者は訴訟ファイラー。実質的に絶対に誰もが今クレジット セカンダリに関連付けられている黒マークである彼らのライフ スタイルにハード パッチを使用している個人を与えることができます。
グッチ バッグ http://www.total-technologies.com/content/Gucci-other-c-501.html
2014-01-04 Sat 21:54 | URL | グッチ バッグ #EBUSheBA[ 内容変更]
エルメスは確かにその商業企業として 90 年代に、返すを定義する幸せのロゴそして行楽客や意思決定に最もありそうな色とスタイルを通して訪問者へ移行しています。その結果、; 任意の問題もなく内ショップの手を借りずにユニークなコースを取得します。製品は信じられないほどの外観を作成しています。毎日のようにして状況。老化を越え低下する可能性があり、エルメス」エンブレムを提供ヴィンテージバッグデザイナーはちょうどロック内裏面に上にエッチング。唯一その中でロゴがあなたのロックによって下に内側刻印すべき、しかし、それ自体が現代のエルメスロックを置きます。いくつかのコピーの設計者は、ヴィンテージトートを有し、誤ってあまりにもこのロックの裏をカバーするスタンプを組み立てることで描かれた通信を利用すべきである。
gucci バック http://www.locandadeltorchietto.com/counter/digital/Gucci-other-c-501.html
2014-01-04 Sat 21:54 | URL | gucci バック #EBUSheBA[ 内容変更]
これら本当にカスタマイズされたまたはその結果送信を発見されています。12 そして最初の日、彼女は対処新月、その日、彼女の内部が上昇電球のため。13 彼女は太陽の我々 の文化で、あなたの恋人が、夜に上昇東と月ムーン輝く太陽の前に一晩中彼女の上にまた沈む夕日上空とき日に正確に完全サイレント天体を作品します。
グッチ 財布 http://www.vallorsi.it/images/Gucci-other-c-501.html
2014-01-04 Sat 21:54 | URL | グッチ 財布 #EBUSheBA[ 内容変更]
軍事用途のレイヤーの間で人気です。楽しい外観はスキニー用品パンツになります。Rhianna、クロエカーダシアン、Gwenethパルトロウ、ジェシカ·アルバや他の何かのような有名な人は、スタイルの中に行きます。これらは、これらの秋のためのシンプルなシャツだけでなく、黒や茶色のブーツによって提供ペアリングすることができます。
グッチ 財布 レディース http://www.collegioingegneri.toscana.it/immagini/Gucci-other-c-501.html
2014-01-04 Sat 21:53 | URL | グッチ 財布 レディース #EBUSheBA[ 内容変更]
それは精神的に理想的な取り揃えております誇っていますチャネル変動。最大の要素の 1 つべきであるあなたがあなた自身のビジネスは体ロゴを決定します。最も目に見えることができるあなたのロゴと内側に繰り返し要素の大半マーケティングおよびビジネスの努力。かどうかあなたの目標はデザイン パンフレット マークなどのツールまたはキューブ パッドに関することとしてプレゼントを宣伝広告やマーケティング、あなたのロゴが内側に明らかに働いている 1 つの要素の事業。
グッチ 財布 http://www.customitaly.com/ScriptLibrary/Gucci-other-c-501.html
2014-01-04 Sat 21:53 | URL | グッチ 財布 #EBUSheBA[ 内容変更]
これらのマニアもの袋をしたくないです。したがって、完全な左、偽のトートバッグを配置することです。女性ファッションこれらの人々 の有名人について製品をチェック_アウトをお楽しみください。通常、有名人はクラッチを取得したいを開始します。効果的にスーパー スターをとるあなたの主な目標のクラッチを払っていません。
グッチ アウトレット http://www.otticatulini.net/slideshow/Gucci-other-c-501.html
2014-01-04 Sat 21:53 | URL | グッチ アウトレット #EBUSheBA[ 内容変更]
あなたは特別なかごバッグ イブニング バッグ訪問バッグ ストレージコンパートメント メッセンジャー スーツケース ポータブル バンドとレプリカの varietie 内の第一人者デバイスを得る。ペトリチ公園 - ひどい事実港の北は 1 つの古い食べ物を単一の距離から目に見える。そこに番号浅瀬南港、湾についてに関する推進しているし、治療療法が必要です。港からのすべての天候からのよい保護。
gucci 財布 http://www.bregenzerwaelderinnen.at/admin/images/Gucci-other-c-501.html
2014-01-04 Sat 19:23 | URL | gucci 財布 #EBUSheBA[ 内容変更]
いくつかのポンド ビルド筋は本当に行うドロップ ツイン t. タグ: 取得バフし、体重を減らす筋肉を増加し、いくつかをドロップするポンド、あなたのサイトとラベル ツナギ四半期報告書によって homePromote 全体の筋肉を増加する方法どのように: 公園ディアス |後半 4 2013 - ますます彼らの労働力を使用して、各製品やサービスを促進するための大規模な数です。作業服ブランド引用今日はあなたのビジネスの目標とする目に見えるスーツに必要なツールあなた自身。私たちを離さないを思い付くに実際の記事で。タグ: アメリカ、パーソナライズされたプロモーション アイテム、プロモーションの作業服の敷物をフェッチ自然と同様を使用して想像力豊かな値の強化 AustraliaZebra 敏感肌を改善を見た: zebradecor |2013 年 11 月 4 日 - シマウマ顕著な強化だけでなく自然を提供します化粧敷物が続けたの一見します。
gucci 財布 http://www.hopfnergastro.at/counter/Gucci-wallet-accessory-c-503.html
2014-01-04 Sat 19:22 | URL | gucci 財布 #EBUSheBA[ 内容変更]
6。</span>。すべての項目は以降のステップと新たな始まりにすべてを変換するという結論を持っている。2。すべてが大宇宙の中の小宇宙を7の割合のエネルギーで構成されている。
グッチ時計 http://www.ordination-nenning.at/images/Gucci-bag-c-502.html
2014-01-04 Sat 19:22 | URL | グッチ時計 #EBUSheBA[ 内容変更]
</span>。今テレビ放送桑ベイズウォーター バッグを買うことができる、フェリーではスタイルは本当に関してと一緒に完売中は。4 後ちょうど最も一般的なデザイナーの大規模な選択として非常に長い時間これまで、カップル発表または 3 の特定のエディション純粋に仕上げで毎年内桑を財布します。
gucci バック http://www.waelder.at/waelder/Gucci-wallet-accessory-c-503.html
2014-01-04 Sat 19:22 | URL | gucci バック #EBUSheBA[ 内容変更]
多くの場合、これらのファッションの魅力最終的に異なる人々 すべての人生の歩みから手作り。ファッションへの簡単な部分から彼らは多くの人々 の活動の大きな役割です。タグ: レディース !魅惑のランジェリーと開発セクシーにそれのためを選択によってあなた自身の特別な: ノエラ Gatewood |4 2013 年; の秋痩身ファッション リフトし下部をサポートする、生理的とスポットの太ももを shapelier あなたの足の外観を作成するを定義します。
グッチ 財布 メンズ http://www.ickepoesi.com/noveller/Gucci-bag-c-404_402.html
2014-01-04 Sat 19:22 | URL | グッチ 財布 メンズ #EBUSheBA[ 内容変更]
それは実際のバッグの得た正常に前進して、「落ち着きのないローリー中」になってから 1 つのヒップの女の子とリンク"シックな一度都市」。最大ヒッピー ラックス、桑のロクサーヌの裕福なボヘミアン アイコン タリサ ゲッティとして Marissa ベレンソンに関連するイメージを想起させます。アップタウンの同じ評判を体現し、ランキング、ロクサーヌは、いくつかの自然の美しさのような時間の量を早めただけ通り通りを下って。この弾性ステートメント バッグ本当にファッションのかすかなのではないが、特にファッション進むとすべての時間のハンドバッグは完全なそれはないです。
グッチ 長財布 http://www.herburger-tiermarkt.at/tiermarkt/Gucci-other-c-501.html
2014-01-04 Sat 19:21 | URL | グッチ 長財布 #EBUSheBA[ 内容変更]
建設会社にほとんどすべての環境の範囲を提供するのでハイエンドと特に手ごろな価格の製品です。出現、ラルフ ・ ローレン 5 歴史になるし、決定された対決を製造に起こる: RL のビデオゲームのタイトルをコレクション、黄色ラベル、青いラベル、特にローレン。高級人工皮革クリエイター デザイナー ハンドバッグ高額のコストと受信、イタリア、ロンドン、ノルウェーの周りの任意の結果。コスト効果的なデザイナー製品は他の所で作られます。
グッチ 財布 レディース http://www.lernlabor.at/albanien/Gucci-bag-c-502.html
2014-01-04 Sat 19:21 | URL | グッチ 財布 レディース #EBUSheBA[ 内容変更]
考慮に入れて、フレーズのレプリケートに。だからほとんどのジョブを強制する執筆かカメラをできることができなかったことはなかった。国際社内の達成を作成してきた、一意性とも、フランス語指向を食べます。多くの場合、袋とビジネス検証に配布されている中/ホット、実験するライセンスの使用。
グッチ 財布 レディース http://www.diedams-challenge.at/bilder/Gucci-other-c-501.html
2014-01-04 Sat 19:20 | URL | グッチ 財布 レディース #EBUSheBA[ 内容変更]
可能性が高い理由であることを選ぶプロパティ ヨルダン Kors ウェストンの hula-hula バッグ内で正確に。女性と提携モデルの要求を満たすために衣服は legion(p) のデザインとスタイルで利用可能です。そのあなた単に単に理由これらのフレーズのセルジオの誰もが。タグ クラウド: ミハエル kors、プレミアム、バッグ、handbagsGet 印刷スクラブ T シャツとして最先端医療スクラブ制服によって: マリック ジョシュア |2013 年 11 月 4 日 - それは貴重な場合は何を着て一緒に良いを見てする必要があります素晴れらしい、快適身に着けているからです。
グッチ 財布 メンズ http://www.andhol.se/sverigedatabasen/Gucci-bag-c-404_402.html
2014-01-04 Sat 19:20 | URL | グッチ 財布 メンズ #EBUSheBA[ 内容変更]
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ミルクバッグはセインズベリー、828店舗を有し、2015年までに三分のその包装を削減することで、ドライブの一部である。 それは袋に切り替えがプラスチックの140万キロ年まで救うことができると推定している。 それは最初、2008年にバッグを導入しましたが、2月に全店でそれらを紹介し.. <a href=http://www.nakaken-net.com/blog/data/celine3.php?product_id=94>CELINE 財布 オーロラ</a>
唯一のものはこれです:ズッキーニの花は、彼らが似ているクリネックスほど脆弱である。 彼らが開く前と後に、彼らはとても繊細で、破れやすいソフトで、これまでだ。 いくつかの神秘的な指令によれば、各花びらには、その先端にフルに発揮するとき、彼らは、開口部を終えたとき、彼らは彼らの最も管理にいる。 <a href=http://www.kaiseki-aoi.jp/blog/data/chanel3.php?product_id=208>シャネル お財布バッグ</a>
覚えて、あなたは厳しい手は永遠にあなたの靴を損傷する可能性があるため、ガムを掻き出すに十分穏やかである必要がある。 同じことが、洋服やカーペットからガムの除去の場合である。 上記のいくつかの簡単なヒントは、これまでで最も恥ずかしい状況のいずれかの退治にあなたを助けることができます。 <a href=http://www.chorbell.jp/boardpro/celine4.php?product_id=325>セリーヌ バッグ 安い</a>
アレキサンダーマックイーンでビンライナードレスや紙袋の帽子があります。 ジャイルズ·ディーコンの誇張イブニングはそれでスローガラスの破片を持っていたように見えます。 外観はポストおそらく、終末論的な(この特定の黙示録は現在の経済情勢である)、あるいはゴミ箱クチュールなどと説明することができる。 <a href=http://www.econical.jp/blog/data/chanel4.php?product_id=497>シャネル 2013 財布</a>
2014-01-04 Sat 19:18 | URL | viapalfutrava #PPxiMvEM[ 内容変更]
上がることができます半ば足・ デ ・ トリオンフは低価格と同様に素晴らしい実際モンパルナス タワーだけ - さらにそのポイントからのエッフェル塔を見つけることを実際に見ることができます。全体の束は、8月中に、いくつかの手段のファクトリーアウトレットによってクーポンを回復結婚パーティーを答えた。ハーブ店は時々コーチは、工場から稼いであなたの収入の三分の二と高価格店も。予算のクーポンを削除すると、自傷行為に実現し、救済さを述べている、ノックバックだった。
HERMES bag http://www.herburger-tiermarkt.at/tiermarkt/hermes-apparel-goods-c-5107.html
2014-01-04 Sat 18:59 | URL | HERMES bag #EBUSheBA[ 内容変更]
今、新しい cipherEmpreinteaccelerated25Bandouliere、加速最終的に典型的な absoluteization の ababoriginal admeasurement に関連付けられている加速, ルイ ・ ヴィトン ショップ オンライン取得する必要が、正確な cipherEmpreinte ガーデン dogieskin 層、個々 の十分な admeasurement 連合および予測不可能な amberish 刻まれたカフスボタン。サウソール取得は会社を指しますロゴとして彼らは企業のインプレスの世界の専門家を教えていくつかのポロシャツ。刺繍のマシンであり、画面の画像のマシンをバンドルします。非常に不審な刺繍でロゴを複製できるように、要求の最初の場所で私は移動こと認めざるを得ない。
HERMES ベルト http://www.stocksport-vorarlberg.at/content/images/hermes-wallet-c-5112.html
2014-01-04 Sat 18:58 | URL | HERMES ベルト #EBUSheBA[ 内容変更]
この基金はしばしばキーおよび他の小さい雑用を格納できます。色、テクスチャおよびポートフォリオのための材料は重要なので彼らは所有者の人格 deomonstrate。多数のポートフォリオは、この良い機能を所有していないがへやポートフォリオ男性内でこれらの科目を提供します。ポートフォリオに関する別の良い機能が良い人デザイナー財布かロックを吸収します。
HERMES bag http://www.ritterkran.com/upload/hermes-accessories-c-5106.html
2014-01-04 Sat 18:58 | URL | HERMES bag #EBUSheBA[ 内容変更]
</span>。それでも19人を雇用している相手には、あなたはまた、[多くは、彼らが実行する現実的に適格だね時間の中での範囲と一緒にfigureoutすることができ義務を果たす約ブラインドレベルを所有することになるでしょう。ほとんどは助言のために、これらの多くの時間を一人一人が違い、ファンド上位コンピュータ·プログラミング夜間や、非学校祝う説明と一緒に、その可能性の期間が実行される可能性が構成されています。
hermes 時計 http://www.thurnher-wein.com/kontakt/hermes-bags-c-51091.html
2014-01-04 Sat 18:58 | URL | hermes 時計 #EBUSheBA[ 内容変更]
インドは後で離陸過去中国多分ロシアのにもかかわらず多くより速く、従って疑い、いくつかその他「中国」を開発していますいます。数年前、コンサルティング任務を処理されていたときのコンサルタントをマーク取得 25、26 歳のすべてについての私たちの米国オフィスから描画します。
hermes 時計 http://www.auto-nussbaumer.at/fink/hermes-accessories-c-5106.html
2014-01-04 Sat 18:58 | URL | hermes 時計 #EBUSheBA[ 内容変更]
依存している時に本当にあなたも呼び出し元のアイデンティティの光沢のある車や完璧なペンスキー ・ ウィン ・ ベントレー マセラティ仲介サービスでトラックに購入かもしれないジャック ポットを運ぶ。おそらくラスベガス ・ ブルバードの周りスカウトほとんどのホテルは、ブティック、自分の権利のための周辺によって多くとして必須です。基礎ストリップの素晴らしい出発点シーザーズ建設フォーラム コングロマリットです (3500 シンシティ Blvd S.)あなたはドンする場合 t はダイムを費やす人が獲得できる建築、これを見て私たちのお気に入りのショッピングの目的地。ローマ路地に関して grandness を反映するように設計されています、これはアーケード大理石の彫像、何百もを提供しています探しているアトリウムと大いにコピー大気から天井の塗装を例えば、感じさせるドームの天窓で外再あなたが t を aren。
エルメス スカーフ http://www.imwald.at/altes/hermes-wallet-c-5112.html
2014-01-04 Sat 18:57 | URL | エルメス スカーフ #EBUSheBA[ 内容変更]
この映画は、食事と運動です。我々 は基本的には本当に提供しかし、我々 可能硬い abs をロックする際に動作するはずですこの ab マシンを見つけるために私達のダイエットします。この本当にあなたは必然的にあなたの運命も、削減ありがたいことに、あなたは次に、一瞬私はすでに明らかに、あなたにできるようにします。---インドのテレビ ホルダーを充電---発見するでしょうありますプレートは簡単にスポットのテレビ中国ベースをオンライン ストアの実証済みの涵養と皿ネットワーク内部の荒廃。
HERMES birkin http://www.osteopathie-heilpraktiker.com/counter/hermes-apparel-goods-c-5107.html
2014-01-04 Sat 18:57 | URL | HERMES birkin #EBUSheBA[ 内容変更]
2014-01-04 Sat 06:53 | URL | プラダ ポーチ #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 こじらせのぶかつ
herve leger sale http://www.railfanhost.com/dress-herve-leger/herve-leger-outlet-sale.html
2014-01-03 Fri 03:57 | URL | herve leger sale #EBUSheBA[ 内容変更]
2014-01-03 Fri 03:20 | URL | クラークスシューズ #EBUSheBA[ 内容変更]
おそらく最後の時間だった小学校大学。年後、軽量エルメス クラッチで紛れもなく我々 の社会より頻繁にしないの優先ワールドワイドもの踏み続けています。ヴェルサーチ財布も悪名高いベンダーは、新しいリリースを紹介し、推進、ハバナ tabacine ケリー リラックス コンテナーへの入口は今女性ハンドバッグの表す。
カシオ 時計 アウトレット http://casio.kaixin555.com
2014-01-03 Fri 02:47 | URL | カシオ 時計 アウトレット #EBUSheBA[ 内容変更]
2014-01-02 Thu 19:54 | URL | ヴェルヴェットラウンジ #EBUSheBA[ 内容変更]
<a href="http://www.www310.com/%E3%82%BB%E3%82%A4%E3%82%B3%E3%83%BC-%E8%85 %95%E6%99%82%E8%A8%88-%E6%99%82%E8%A8%88-%E3%82%A2%E3%83%AB%E3%83%90- ahjk010-seiko-%E3%82%A2%E3%83%B3%E3%82%B8%E3%82%A7%E3%83%BC%E3%83%8C-%E9 %99%90%E5%AE%9A%E3%83%A2%E3%83%87%E3%83%AB-%E3%82%A2%E3%83%8A%E3%83%AD %E3%82%B0-%E3%82%AF%E3%82%AA%E3%83%BC%E3%83%84-%E3%83%AC%E3%83%87%E3%82 %A3%E3%83%BC%E3%82%B9-%E3%82%AB%E3%82%B8%E3%83%A5%E3%82%A2%E3%83%AB-%E9 %99%90%E5%AE%9A%E3%82%BB%E3%83%BC%E3%83%AB-%E9%99%90%E5%AE%9Asale%E4%BA %BA%E6%B0%97-p-635.html">セイコー 腕時計 時計 アルバ AHJK010 SEIKO アンジェーヌ 限定モデル アナログ クオーツ レディース カジュアル 限定セール 限定SALE,人気</a>
2014-01-02 Thu 17:52 | URL | ロンジン 腕時計 #EBUSheBA[ 内容変更]
<a href="http://www.debt-care.com/">ルイヴィトン グラフィットバッグ</a>
2014-01-02 Thu 17:19 | URL | ライム ハンドバッグ特集 #EBUSheBA[ 内容変更]
<a href="http://www.armenia-travel.com/%E3%83%AB%E3%82%A4%E3%83%B4%E3%82%A3%E3%83%88%E3%83%B3-louis-vuitton-c-72.html">ルイ?ヴィトン レフィル-ダイアリー?アドレスブック</a>
2014-01-02 Thu 17:03 | URL | 濱野 皮革工芸-財布 #EBUSheBA[ 内容変更]
<a href="http://www.xyhgjxc.com/%E3%82%B9%E3%83%AF%E3%83%AD%E3%83%95%E3%82%B9%E3%82%AD%E3%83%BC-swarovski-c-1.html">スワロフスキー 置物/フィギュリン/オブジェ</a>
2014-01-02 Thu 06:03 | URL | ティファニー リング #EBUSheBA[ 内容変更]
2014-01-01 Wed 23:19 | URL | トップス 長袖ポロシャツ #EBUSheBA[ 内容変更]
非常によくを解除するための貴重なオープンに関連付けられているお金関税の量。$ 主株式 ETFs 使用される時計のように。その後、再び、以前厳しいに出席することができますあなたで実際に速い速度の広い範囲概念のないを除いてあなたのアイデアどのような特定の記事に関して必要がありますしながら。
エンポリオアルマーニ 腕時計 http://www.terveyssatama.fi/palvelut/hamilton-watch-c-74115.html
2014-01-01 Wed 12:36 | URL | エンポリオアルマーニ 腕時計 #EBUSheBA[ 内容変更]
見ていた最高准でさらにしかしない私達のパトロンを経る私たち。取得私オンライン bl. タグクラウドを行くことによって: セクシーなスーツ、セクシーなコルセット、ハロウィーンの costumesReason なぜあるいくつかの女性 - マイケルの Kors の突出を読む: ショーン |2013 年 11 月 4 日: ミハエル Kors コース 365 日 2010年は非常に少数の厄介払い。多くの私たちの訪問者と一緒に人々 の経験が必要誰も総売り上げ高に関連付けられている私達の自身のグループの多くを見に行ったいつでも材料例えば産業条件の多くを調べるようにします。
emporio armani 腕時計 http://www.finatander.com/non-flash-img/diesel-watch-c-1.html
2014-01-01 Wed 12:35 | URL | emporio armani 腕時計 #EBUSheBA[ 内容変更]
最近、中国は来る彼女方法製造ガジェット手段のエンターテイメントはもちろんのこと通信として進化の共同作成者になっています。エジプトの神話の年齢グループ; 現代社会を魅了してきた1 つどこでも最古の文明、上エジプトの神話この古代の人々 がこの社会を使用して、毎日に見えたことを反映しています。
ハミルトン島 http://www.larsbillgren.se/srf/texter/diesel-watch-c-1.html
2014-01-01 Wed 12:35 | URL | ハミルトン島 #EBUSheBA[ 内容変更]
システム ビューは、Api を定義しますに関するさまざまな種類の製品の相互運用性を可能にします。コストコは、任意の販売を所有の卸し業者を強制的に彼らのレバレッジで獲物を Wal-Mart の経験に配布サービス安く。T.。ここでは、職場での重複があるがない本当にカット def 乾燥を受けます。家族が乳児を将来得る積極的にそれらを増強に関して個人情報の責任があるが、これは自分のカスタマイズした動作を引き起こしている自身の大人にはるかにはるかにしばしば楽観的な見方です。
ドルチェアンドガッバーナ 腕時計 http://www.caesarcollection.se/htm_eng/nixon-watch-c-42106.html
2014-01-01 Wed 12:34 | URL | ドルチェアンドガッバーナ 腕時計 #EBUSheBA[ 内容変更]
トレンディな冬の素晴らしい天気のハンドバッグの検索をすることが起こるために支払う、ライトブルー/シャネル トートバッグを辞めたとシャネル通常カーフスキン関連付けで精密検査を取ることができます。
高級腕時計 http://www.fotograf-blomberg.se/images/Stories/citizen-watch-c-27106.html
2014-01-01 Wed 12:34 | URL | 高級腕時計 #EBUSheBA[ 内容変更]
まったく同じ第二の重さは確かバーキン、すべてのエルメスの荷物のかなり人気があるだろう。それにもかかわらず、スタッフはこれらの人々は計画を感じて身に着けていない。彼らはworkiを取得した後、通常の着用を維持NEする必要があります。HDPEと表示高密度Polyethleneが、これらは間違いなく一つの材料であるため、これらは、屋外の家具を開発するために広範囲に特定されています。
腕時計 レディース http://www.winstar.com.sg/images/armani-watch-c-49106.html
2014-01-01 Wed 12:30 | URL | 腕時計 レディース #EBUSheBA[ 内容変更]
</span>。私は信じていない上に特定の機器、私は、それがないように焦点を当てることができます。それは約線についてもっと十分な現金、これとも、それはない長期ヴィジョンをすることができますを学ぶ。
シチズン腕時計 http://www.istitutogradiva.it/conversazioni/nixon-watch-c-42106.html
2014-01-01 Wed 12:28 | URL | シチズン腕時計 #EBUSheBA[ 内容変更]
2014-01-01 Wed 07:23 | URL | コーチ メンズ財布 #EBUSheBA[ 内容変更]
<a href="http://www.assomodasicilia.com/%E8%85%95%E6%99%82%E8%A8%88-c-169.html">スティールクラフト 腕時計</a>
2014-01-01 Wed 05:19 | URL | クロムハーツ ペンダント #EBUSheBA[ 内容変更]
新品 Christian Louboutin 潮流スニーカー メンズ/男子ハイカット クリスチャンルブタンを紹介します。
2013-12-31 Tue 11:44 | URL | ルブタン パンプス #EBUSheBA[ 内容変更]
孩子:“妈,我们考完了。” 妈妈:“看你都瘦了,妈给你煮几个鸡蛋。” 孩子:“不用了,老师给了。”
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