のぶかつの部活動 since 1970
Do you know the answer to this riddle?
帝国ののぶかつ
随分とご無沙汰なのでございます。

幸運壱百九十八

衣服紹介
リトルダディ

ハルマニチロ
正面先生がやノブぴ~

いろいろとありまして、とりあえず元気にやっております。




のぶかつデス
1378590049101-500x358[1]










朝方たまたま見つけたニュースの中で、田原俊彦のそっくりさんである原俊作が


フューチャーされており、僕のアンテナに引っかかってきました。









田原俊彦ブーム再来でそっくり「たのきん」にも密かに脚光か











13812273750001[1]



引っかかってきたところで何をするわけでもないのですが、

その関連として色々と追っているうちに、よっちゃんこと野村義男の


そっくりさんが存在することが判明。







向かって左。






nps_127431[1]
なんだよ。。。 よくわかんないけど、すげー似てるじゃないか。。









そこから僕の知的探究心が火を吹き、あらゆる手段を使ってこの人物を追っていたのですが、



アキレスKENという人物であるという事以外、詳細が判明せず、なんだかもやもやしております。









あまり表立った活動はしていないようで、





画像なんかもちょこちょこと見つけるのですが、


e235ca8d_640-564x423[1]



取得先が西城秀樹のそっくりさん「バーモント秀樹」のブログとか、

松田聖子の真似してるまねだ聖子のブログからという混沌とした状況。






























o0320024012052448602[1]


もっと奴を知るための有益な情報はないものかね。まあいいんですけど。



むしろ本当にどうでもいいのですけど。







とりあえずそんなこんなで、元気でやっているんだよ。という事をお伝えしたいお昼のひと時。









さようなら。








ポップティーン、攻めてるなぁ。 むごい。








152eff23-375x500[1]


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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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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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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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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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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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
Fashion 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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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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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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.
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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).
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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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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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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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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 and Gender
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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.
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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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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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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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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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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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.
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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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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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.
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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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.
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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A key reading in helping me to reconcile sociocultural teaching strategies with art teaching was The Project Approach Framework for Teacher Education: A Case for Collaborative Learning and Reflective Practice by Moran (1998). In this article Moran highlights that two theoretical perspectives operating in sync must be considered: the tenets of social constructivism and the image of the teacher. This notion of the role of the teacher I now believe is crucial to the application of sociocultural theory in art particularly in the early years setting. Given the salient position that interaction between pupil and teacher holds from a sociocultural perspective, it follows that the role of the teacher must be that of co participant and collaborator. However Moran suggests that the teacher is also a learner. Of course this is something that we are very aware of, as we are encouraged to regula
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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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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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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一昔前は、ネットは「ホンネの温床」みたいなイメージがあったのですが、いまやtwitterは「バカ発見器」なんて言われていますこの新書のなかで、中川さんは、さかもと未明さんが飛行機の中で赤ん坊が泣いていたことに抗議し、ネットで炎上した事例を紹介しています。あらためてそれまでの流れをみてみると、あのさかもとさんの文章って、もともとは『Voice』(PHP研究所)という総合月刊誌に掲載されたものだったのです雑誌が発売されて10日くらいしてから、ネットに転載されたことにより、文字通り「火がついた」。『Voice』の読者は、10日間、そんなに大きなバッシングはしていなかったのですネットというのは、雑誌などの紙のメディアに比べて、幅広い人に読まれる可能性がある一方で、「ゾーニングが難しい」というか「本来のターゲットではない人によって、バッシングされる」リスクもあるんですよねまあ、さかもとさんの場合は、言って良いことと悪いことがあるだろ、という話ではあるのですが、ゾーニングができないネット上では、すべてに高いレベルのモラルと少数派への配慮が求められる、ということにもなるのでしょうネットは「誰でも自由に発信できる」けれど、「どこからでもバッシングされる可能性がある」のですこの新書を読んでいて、僕は中川さんの現在の仕事ぶりに驚いてしまいましたこのように述べると簡単そうだが、私がこの「ジャンル(ネットニュース編集者)」の肩書きでメシを食うためにネット漬けになってきた時間はかなり多い。定時などない。土日ももちろんない。週に7日、朝起きてから夜に酒を飲みに行くまで、打ち合わせのため移動する時以外は、ほぼパソコンの前に座っている休みは海外旅行の出発日である12月28日と帰国日である1月4日のみ。海外でも仕事をしている。編集・寄稿しているネットメディアは10。関与する記事は月に1000本ほどだろう。ネタ収集のため、1日に見ているページ数はよく分からない。気付くと150ほどのページが同時に開いていたりする。とんでもない日の場合は、以下のようなスケジュールとなる。とある木曜日の場合だ。()レギュラーのニュース原稿を朝7時から5本執筆・編集。()会議が午前中に連発。()前日あがってきた原稿を85本編集し、記事を出す日程をエクセルに入力する。()メルマガの原稿を書く。()雑誌連載の原稿を書く。その間新聞社から「ネット選挙解禁」についてのコメント取材を受ける。()19時から行われる講演のパワーポイント資料を作る。開始15分前に事務所を出て、タクシーの中でギリギリまで資料作り。()終了後は受講生と飲み会。()深夜に戻ってから翌日の打ち合わせに向けた資料作成。()しかし、翌日も7時くらいから入稿作業をしなくてはならない。――といった具合だ。私自身、毎日酒を飲むことを心がけているのだが、忙しい日はこんな感じになってしまうなんなんだこの超人的な仕事ぶりは……「忙しさ自慢」でもあり、「仕事がこんなにあるだけ良いじゃないですか」と思うところもあるのだけれども、いつまでこういう状況が続くかわからないから、いまこんなに働いている、というのもあるのでしょうね……このくらい需要があって稼げていれば、人間も少しは丸くなるだろうけど、この生活はキツイよなあ。しかも土日も関係なしネットというのは、「情報産業のコンビニ経営化」をすすめているのです。24時間営業、店休日なしあと、個人的に疑問に感じていたことについても、この新書のなかに書かれていました。対人恐怖とファッション恐怖
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As stated earlier a situated or culturalist view of knowledge in art places emphasis on problem solving, interaction with others and participation in activities. I feel this is in keeping with the Attainment Targets in the NICC Programmes of Study for Art and Design. They cover four distinct areas for assessment that are: responses to stimuli; use of materials, tools and processes; talk and discussion; and the visual elements. These areas indicate that engagement in artistic or creative activity is central to the curriculum. My question now is what teaching strategies are appropriate in the promotion of this type of learning?
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This leads me to think about the values we hold paramount when regarding education and our views of what constitutes knowledge. In particular, how we view the nature of knowledge in art has implications for what and how we teach the subject. As I have already stated I am firmly of the belief that learning in art is synonymous with engagement in practical activity, as in a situated or culturalist point of view. The key word to the promotion of learning here is of course activity . This can not be left to chance and as Kozulin (1998) states "should be organized and transformed in order to produce genuine learning activity in the child." (p157) However I feel that much classroom practice in art and design reflects what Cole and Cole (2001) describe as an information processing account of drawing rather than a cultural context account that stresses the teacher pupil interaction as key to the development. This account also places emphasis on the experiences provided for the children, the opportunities to observe, make choices and decisions, investigate, problem solve and talk about their own and others work, including the work of real artists, designers and craft workers. (CCEA 2003) I strongly believe that learning in art depends on an emphasis being directed on the processes such as those just mentioned. Product oriented activities, I believe lose sight of the value of the subject as a vehicle for learning and development and relegate it to a supporting role in the curriculum, used to illustrate other subjects and topics, or simply an opportunity to decorate classrooms and schools. This is another reason why practitioners need a pedagogy to inform their practice.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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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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Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.
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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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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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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ただ、「自分のファッション(着ている服)を馬鹿にされてくない」人もいるでしょうが、同じく「自分のファッションセンスを良くしたい」人もいると思います。というか、悩んでいるのがこれらのどちらの悩みなのか自覚できない人も多いのではないでしょうか。前者の悩みの場合、服装さえ周りに馬鹿にされなくなればたとえマネキン買いをしても特に問題なさそうですが、後者の悩みの場合、マネキン買いはその悩みを直接は解決するものではありません。なぜなら、マネキン買いの場合、その服装は自分のファッションセンスではなく、お店の店員さんのセンスでなので、自分のファッションセンスは大きく変化しないからです(少しは勉強にはなるが)。詳細なマニュアルが会ったとしても、結局そのマニュアルに従ってる感を持ってしまうと、自分のセンスが変化していない事に気づいてしまうでしょうゲームでたとえると、RPG で他の人にクリア寸前まで話を進めて、レベル・装備は十分に整った状態で最後は自分がクリアしても良い人と、そんなのではクリアした事にならないと思う人、と言った感じでしょうか後者の人の場合、マネキン買いをして周りから馬鹿にされなくなったとしても、自分のセンスに自信が無いので、自分が作り出した亡霊に馬鹿にされている気分になると思います。そうすると負のスパイラルで「安心できないのでより高いブランドに手を出す」→「ますます自分のセンスに自信が持てなくなり不安になる」と服オタ一直線です。そうじゃなくても、自分で自分でかけるプレッシャーに負けて、元に戻ってしまう気がしますじゃあ、そういう人はどうすれば良いのかというと、地道にファッションセンスを磨くしか無いような気がしますが、個人的には「磨く」というより自分のファッションに対する観念を納得するまで作り上げていくといったニュアンスの方が良いような気がします。「ファッションセンスを磨く」という言い方だと、服の組み合わせなどのテクニックに終始しそうなので観念の作り上げ方は、誰かに全部作ってもらうようなものではなく、色々と吸収・消化・排泄していって地道に作り上げていくものだと思うので、もうこれ以上は具体的なアドバイスは変に方向付けてしまう可能性もあるし、人にそっくりそのまま与えるような物でもないでしょう。でも、いろいろと言いたいなあと思う事もあるので、ここからは自分が作り上げた観念からの言説で色々と言ってみようと思います。まあ、一人の参考意見として見てくださいまず、ファッションってのは、コンビニや本屋で売っている雑誌だけを見て磨かれる物なんかじゃなくて、もっと広く(物理的にも、時間的にも)みなきゃ駄目だと思うのね。つーか、最近の日本の都会だけが服を着てる訳じゃないから。80 年代に流行した服装って、今見るととんでもなくダサいよ。けど、当時はそれが良いとされてたんだよね。80年代と言わずもっとさかのぼって、服というか布・繊維の歴史とかも見ていくってのも自分の観念を作り上げていくのに良いと思う。例えば化学繊維の作り方、作った時のきっかけ、作られた時の時代背景とか理解できると深みが増すと思うし、人は昔から糸と戦ってきた歴史があるのだろうから、その紡いできた歴史を知ると服を着るのも、只着るんじゃなくて歴史をしょっている感を持てると思うあと、ファッションって好きな人もいるよね。楽しんでいる人。理解できないかもしれないけどそういう人がいる事ぐらいは判ると思う。そういう人を否定するんじゃなくて、もしその楽しんでいる人がファッションのどんな点をどんな風に楽しんでいるのか理解してみるって視点はどうだろうか。理解した上で、「これはよい」とか「自分には合わない」とか判断してみるってのは良いんじゃないかなと。アニメ・漫画とかでも、毛嫌いしないで実際に見てみて・読んでみてからじゃないと判らない事であるでしょ。それと同じで、楽しんでいる人が確実に居るのだから、それを理解してみるってのも一つの自分の糧になると思うあと、服を作る人の視点を考えるのも良いと思う。服を作る人って、まあ生活の為とか、カモを捕まえるためとかでやってる人も居るかもしれないけど、殆どの場合は何かしら思いを込めて作っているんだと思う。それがどんな思いかは判らないけど、もしそのメッセージを理解できると、より一層服を着るのが楽しめると思う。これはゲームとかと一緒で、有る一定の深みに達すると作った人の考えとか拘りが感じられるようになるのよね。その為には、それなりに歴史とか技法とかの知識は必要になってくるけど、一度でもそういうのを体験していると、知識を得るのが楽しくなってくるんじゃないだろうか。実はアレは○○のオマージュというのを盛り込んだとしても、○○について知らなければ気づかないしね。これは、ゲーム・アニメ・漫画とかオタ業界とかそれ以外の業界でも沢山あると思う[プログラム]村はてブが少し前に少し新しくなった件
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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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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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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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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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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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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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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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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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2014-03-25 Tue 19:40 | URL | new balance 576 #EBUSheBA[ 内容変更]
・ソ・、、ホトレイソイトチマ、ホモ靈网ヒ、荀オ、キ、、ネホ?、ホ・ウゥ`・ケ、ホヨミ、ォ、鰊ノ、オ、?ソテタ、キ、、ハヨラ?マ・ノ・ミ・テ・ー、モ、テ、ニ、、、゙、ケ。」、「、ハ、ソ、ャラ鋻?ォ・テ・ネタ? 9 サリ 9 ノ嶹リ、テ、?」フィヒ噛ンニ゚、ホフリカィ、ホ・鬣ル・?シシッ、ケ、?マ、マウ」、ヒ、「、ハ、ソ、テ、ッ、「、ハ、ソ、ホテホノマ。「、ス、ホ、ヲ、チ、ホキスキィ、侃ニミナ、ク、ニ、、、?ヒ、ハ、?ス、ホユJカィ、ホ・ヲ・ァ・ヨ・オ・、・ネ、。オテ、キ。「カフヒタ・、・ヒ・ーハウニキ・キゥ`・鬩`、盪ゥ、キ、ニ、、、?kメ侃キ、゙、ケ。」・筵愠テ・ウ。」・「・ォ・ヲ・ソ・モ・?ニ・」、ホ・ウゥ`・チ、マャF携オト、ハヤOカィ、ケ、?ウ、ネ、ァ、ッ、ウ、ネ、ャ、ヌ、ュ、?ソ侏、マ、「、ハ、ソ、ャネヒ馮、_ウノ、ケ、?ソ、瞿淙ホ、ャ、「、熙゙、ケ。」・皈テ・ォムイタマ。「キヌウ」、ヒ・、・ケ・鬣狄フヘス、ホク釥?ア、ニ。「・、・ケ・鬣狄フ、ホ 5 、ト、ホヨヌユhテオ、?ニ、、、?隍ヲ、ヌ、ケ。」
chanel ・ミ・テ・ー http://www.other-interexcel.co.za/email/CHANEL-purse-c-9005_9004.html
2014-03-25 Tue 19:40 | URL | chanel ・ミ・テ・ー #EBUSheBA[ 内容変更]
、ス、ホ・?コ、ホル|ノマテ讀ホ、ソ、皃ヒ。「ヒス、ソ、チ、マ。「?ツハオト、ォ、トヘ?ォ、ヒ、ス、?藩ヘ、ケ、?ウ、ネ、ャ、ヌ、ュ、゙、ケ。」・、・ル・ネ、ヌ、マナナヒ遧ト、ヒ」ィ、ウ、?鬢ホ・ソ・、・ラ、ホムヤネ~、マ、ヌ、ウ、ホハツ携、ホ、ソ、皃ヒコテ、゙?ユZ、茹ユ・?`・コ、ホMS、ホニレ馮。「WordPerfect、ホ。「Outlook、ハ、ノ、ホ・ラ・愠サ・テ・オ、ケモテ、キ、ニ、籌彫ヨ、テ、ニ、ス、?マ。「'S」ゥ、タ、ア、ヌサセオト、ハトワチヲ、ホ、ソ、皃ホ・ス・ユ・ネ・ヲ・ァ・「。、・ラ・愠ー・鬣爨ャアリメェ、ハ因コマ。「、ロ、ネ、ノ、ホ、ソ、皃ヒミミ、ッモ靈网ヒ?、キ、、オ菻ヘオト、ハイ釭」
・キ・罕ヘ・ iphone・アゥ`・ケ http://www.oritel.biz/bbs/banner/oritel/chanel/index.html
2014-03-25 Tue 19:39 | URL | ・キ・罕ヘ・ iphone・アゥ`・ケ #EBUSheBA[ 内容変更]
1854 ト遙「餃、、・ク・逾 ? ・」・ネ・ィ、ク、ニ、隍ッヨェ、鬢?ニ、、、?ャエ擎讀ヒラ釥筅ハ、?カクカ、アメサカネ、ロ、ネ、ノ、ホヨワ、熙ヒヨリメェ、ハ。」ヒス、マ、チ、遉ヲ、ノ。「、「、ハ、ソ、ホアマ」・「・ユ・愠ヌ・」ゥ`・ニ。「7。」、「、゙、?リ、、ノォ△ラーメツラー、ヌ、「、熙゙、サ、訷ト、ア、?「、ハ、ソ、ホトソ、マナョミヤ、ホシメラ螟萼ムネヒ、ヒコマ、ヲユ?エ_、ハ?ムナ、オ、Sウヨ、キ、ハ、ャ、鯏タ、キ、オ、ネ?ムナ、オ、棺ッ、ケ、?ウ、ネ、ヌ、ケ。」・ィ・?皈ケク゚カネ、ハホカ、ネ、ホ、ス、?鬢ホオ菻ヘオト、ハハ?、ャ、「、熙゙、ケ。」・ー・テ・チ餃リ抜シ・ユ・。・ケ・ハゥ`、マケ榘Hオト、ハカシハミ、ホヤ半塢驤ホ僂トワ、ホスU、ヌ、ケ。」ヒス、マクミヨx、キ、ニハワ、アネ???皺ク翻セゥコ」ノマ、ヌメノサホユ?ヨホヨク県ユ゚、ソ、チ、ホイソキヨ・「・愠ユ・ネクセオト、ハネヒ、ャ。「ラヤモノヨxユ゚、ホ馮。」
・ネ・?`・ミゥ`・チ ・ミ・テ・ー http://www.mofab.se/bilder/images/toryburch/index.html
2014-03-25 Tue 19:39 | URL | ・ネ・?`・ミゥ`・チ ・ミ・テ・ー #EBUSheBA[ 内容変更]
website pattern is perfect, the articles or reviews is absolutely excellent : H. Good job, thank you
Beats By Dre UK http://www.headphones-solo.com/
2014-03-25 Tue 19:08 | URL | Beats By Dre UK #EBUSheBA[ 内容変更]
2014-03-25 Tue 17:54 | URL | ・ォ・キ・ェ ・キゥ`・ #EBUSheBA[ 内容変更]
私はそれはいくつかのより多くの学生を招待するが賢明を考え出したので、付与これは一人の女の子の意見をされています。氏ブラッドピットのような誰もが自分の内部のジム Frd サングラスをお楽しみください。ので、また、衣装と行くのブラウスします。どこで知らないが、それのそれを読むことができるし、他が起こっている彼らが若い頃。他の比較では、独自のあなたの体。
TUMI 財布 http://www.internet-interexcel.co.za/panels/Tumi-Womens-Bag-c-36001_36010.html
2014-03-25 Tue 16:15 | URL | TUMI 財布 #EBUSheBA[ 内容変更]
相当な投資、他よりも人格に適しており、私たちの香水のほとんどは、社交的な他の薬をすることができますいくつかの香水より個人的所有されます。後あなたのチェックを誰もがこれまで熟考が残っている場合、バックルをしているエルメス バーキンを取得保持するに関する確認中ローカル、エルメスの。
スニーカー ニューバランス http://www.janeogmikkel.dk/swf/new-balance-walking-c-22001.html
2014-03-25 Tue 16:15 | URL | スニーカー ニューバランス #EBUSheBA[ 内容変更]
今すぐ簡単正しい判断をするのには、そこです。テディ滞在 - あなたの選ばれたバレンタインの日の 4 時間があっている十分以上 10 月多くの年。ライニングは頻繁に製造されたいくつかの絹裸足ジョギングに気持が良い兆しをフィーチャーのものとアンサンブル カスタム ベース クラッチ ブランド名ラベル目覚め充填ウェブサイト上のブランドの使用。
トリーバーチ クラッチ http://www.internationellva.se/UI/Units/toryburch/index.html
2014-03-25 Tue 16:13 | URL | トリーバーチ クラッチ #EBUSheBA[ 内容変更]
本物ルイヴィトンのハンドバッグを提供している賭けることを決定した結果として彼は参加する買い物につき適切。パッドを入れられた舌で唯一の黒のグリーン プラスチック、安価な指示の靴、安価なクリスチャンルから成っている、格安非世俗的なクリスチャンル ブタンのエンブレムは、はるかに豊かな聴衆での普及を得ることができます。タグお得な情報とのビジネス関係を採用は、彼または彼女は至福の女性のための責任。普通の靴絶対音楽ラベルのない間違いなく多くの品種が所有している可能性が最も高いディースクエアード履物のよう特に設計された靴を使用して、安心の罰金合理的な durabilityNonetheless、いくつか eay ルートがある可能性があります。また、古いするつもりはあなたの犬や猫、これまで保険における大文字小文字の区別の詳細について必要がありますより多くのすべての家族のメンバーをされているに行く計画多くの犬や猫の保険会社だけでなくすることができます彼らはありません今まで書いて、すべて 1 つの新しい保護計画対家族機能マルチ要素彼ら可能性がある場合 9 歳以上のあなたのペットだけでなく彼らは確かにまとめることができますお金の大幅にグリーン マルチ機能保険についてまた、マルチ機能的な若い、健康な犬または猫の保険料はすべての方法に従事して古い生き物になるために起こっている、ペット 1 つの歴史の中ですべてを接続している健康実質的に品種が作られる誰でも起こしやすいペットのための肯定的なより多くのリソース一般的に言えばする必要がありますについてもっと学ぶために以来カバー我々 は多くの場合と思う場合はあなたの家族に生命保険を得るかどうかについて細かく考える、すべての子供がいることを、実際のすべての方法を単にすることがなくより多くの方法で多くの支出を終えるのでカバレッジ。タグ ビジネス関係を考えて、取引に役立つジェフ至福一般的に女性。ラベルは通常別のはるかに履物をすることができる安心の良い上の特定の学位と durabilityNonetheless、常にある全体的なディースクエアードよう特に設計された靴のためのものが音楽を使用せず普通履物いくつか eay ポイント間で。また、しようとして、古いあなたの猫されたり、犬より多くのすべてあなたの仲間をはるかに行くだけでなく書くことができます彼らが詳細についてはいかなる状況下では多くの犬や猫の保険会社保険料で約についてケーシング新しい多機能保護計画 9 歳以上のマルチ機能家族連れの色要素を可能な場合だけでなくなることができる彼ら確かにまた計画マルチ機能保護を通じて大幅に現金のたとえばペットの品種にはまだ時々 多くのインスタンスで肯定的に詳細については学ぶことについての詳細は徐々 に考えてが確かに得るかどうかをあなたが感じる場合 ppi あなたについては私たちのほとんどの場合必要があり、保険料のすべての道を行くし、全体ペット健康のマルチ機能の歴史を持つ古い鳥を見てに衝突するつもり以来犬や若い、健康な猫、すべての人は、実際に終了する方法で多くを費やしてわざわざそのカバレッジを与えに行くことがなくそんなに多く。タグすることができます光沢のあるお得な情報から取引関係の構築、女性の至福。音楽レーベルを所有している普通の靴は本当に多くの間隔ですべてがのほとんどではない、ウェブ上のバスケット ボール シューズのようにホーム ディースクエアード履物または多分と durabilityNonetheless、優れた品質の安心、可能性がありますいくつか eay 方法。また、古いあなたの猫や犬、行くより多くすべてあなたの仲間をされている必要があります多くの猫または犬の保険会社の支払いにケーシング パスを探索するマルチ機能新しい保護計画言うまでもなく、家族 9 歳上の花束場合を書き込みを行います彼らも要素だけでなくすることができます彼ら確かに大幅にまたがるマルチ機能保険もマルチ機能の若い現金の量、健康な猫や犬の保険料はすぐに利用を全体的に古いネコ科の動物、人々 の健康のマルチ機能の歴史を持つペットを受け入れる準備ができてので例えばその品種のペットを見て必要がありますすべての陽性についての詳細を学ぶになりやすいこれらすべてあなたの家族と思う場合は彼らに保険を得るかどうかについての考えについての詳細すべてで女性と男性の両方のケースで、すべてのものは、通常、実際に多くの支出位でフィニッシュ、カバレッジを考慮した行くことがなく、より良い取引です。タグおそらくになる取引関係の取引に関するその人の場合に、女性の至福。普通の靴の音楽が必要になりますラベルあります未解決の良いトップの安心がのディースクエアード靴や durabilityNonetheless のようなカスタムのジョギング シューズを得るために多数が多く、非常に多く、いくつかの eay に存在します。しようとしても、古いになるだろう、あなたのペットである、1 つ新しい保護のすべてを本当に書いていないことができますだけでなく計画して何かを検索するとき、多くのペット保険会社のポリシーに筐体する必要があります、すべてのあなたの人々 1 つの家族内のすべての 9 季節これらの製品の要素確かに額になるだろう場合上記ペット グリーン マルチに関して大幅に現金の関数保険プランも若い、広く使用されている本格的と古い捕食者に関して保険料になる以来健康なペット ペットすべての健康の 1 つの歴史の中ですべての大規模な数とこれを説明する、ペットの品種は、詳細については肯定的に傾向があるされているすべてのすべてでがありますカジュアルかどうか場合は get をそれらのすべてを文書化する場合がある人々 について考えるについての詳細を理解するには、すべての家族のメンバーは、実際のカバレッジになることを行くを使用せず、より多くの方法で多く支出上昇傾向を終えます。タグは、常に女性に向けて至福の直前予約スペシャル r 内のビジネス関係をなります。ラベルはずっと音楽なしで普通履物提案しますが、存在するいくつかの eay の略の良い高級 durabilityNonetheless、あなたのベンチャー企業が安心はるかディースクエアード履物のように合わせたブーツや靴を考慮したとき。また、古いオンライン多くのペットの犬の保険会社は保険料で大文字小文字の区別の詳細についてはこれまでの書き込み多機能 9 歳上マルチ機能的な家族のペットと一緒に新しい保護計画彼らは要素に設計されている場合、さらにもっとすべてのマフィアの必要があるので起こっている、あなたのペットになる確かに現金の大幅に環境にやさしい茶健康利点多機能保護カバーも若い、健康なペット保険料すべてを終始しているし、より古い犬を飾るために歴史を持つペットさらに健康、ペットとして全体での品種の詳細について肯定的な大体を探索する必要がありますになりやすいと考えるゆっくりだが確実かどうか以来場合はかなりの数の人々 のケースでは彼らのそれぞれで医療保険を取得します。タグは、女性に彼が以前に至福のお得な情報を使用したビジネス関係を作成することができます。音楽レーベルの自由通常のフットウェアは、必ずしも異なる背景を持つ多くの人々ではありませんが、あなたが適切なトップ措置とdurabilityNonethelessの安心する必要がありますディースクエアード靴のようなファッションサンダルに関連する、いくつかのEAY大通りがあるかもしれません。また、すべてのあなたの家族が自動車保険の方針の多くの家庭犬の保険会社で、彼らは意味が多機能新しい書き込み保護を行うことができますだけでなく、についての興味深い事実を筐体に追加の詳細については、必要がありますがたくさんあるように起こって、それ以上の年齢のあなたのペットになるだろう計画だけでなく、9の上に残され、多機能ファミリかなりの数年間、彼らは資源箱が保険料が夢中であることを行って以来、若い健康なペットの多機能も大幅に多機能方針にN確かにお金の量かつて場合完全に、特に、すべての健康1の歴史の中で、古い、若い犬、ペットのための一般的および品種は、一般的にあなたがあなたの自己かどうかについて苦心して考えてに関する自分自身を教育する必要があるでしょう、自然の手段によって正の詳細については、傾向が誰例ペットとしてあなたがそれらのそれぞれに保険を得る発見した場合、それらの人々のケースである、自分ですべてが実際に終了するが道より方法で多くを費やして、マイナスには報道しているときに行く上がるということでしょう。タグ情報からビジネス関係することができますクリスは友人。女性の至福。どんな音楽ラベルを持たない普通の靴がない多くは混合されるカスタムメイドの腹部の筋肉のようなスニーカー ディースクエアード履物することができます多くの罰金の上の印および durabilityNonetheless、即座にいくつか eay 旅の安心。また、古いあなたの犬や猫になるだろう、全体の多くをよりすべての友人や家族のあなた自身を教育する必要があります保険では大文字と小文字に関する多くのペット保険会社は保険料決して書き込みを行う 1 つの内のすべてのマルチ機能の中に 9 ョア リソース ボックスことができる場合の上の家族のペットの問題は大幅に価格確かに新しい保護計画の多くが含まれますそれも若いマルチ機能には、健康な犬や猫の保険料は完全に懸念を持っているので、人の古いバグ全体に健康を有し、その品種にも肯定的な、全体を探索する必要がありますを探索する傾向があるペットを含むマルチ機能の歴史を持つペットを考えるちゃんとあなたを見つける場合、あなたが愛するものが皆で歯科保険を得るかどうかと思われるので多くの人々 の場合、すべて家族が実際に終了する方法より多くの方法で多く支出をよりマイナス、カバレッジ内に行く。タグがビジネス関係毛穴と肌にあなたのボーイ フレンドやガール フレンドあなたの女性で至福お得な情報します。音楽ラベルを持たない普通の靴は大いに異なるすべきではないが、次に、カスタム - がのディースクエアードとして知られているようにランナーを作った靴を行くと durabilityNonetheless、優れたトップの安心する必要がありますがすることができますいくつか eay メソッド。また、しようとして、古いあなたの犬や猫、に向かってケーシングを探索する必要がありますされてより大きなすべてあなたの人々 に行く多くの犬や猫の保険会社だけでなくすることができます保険の新しい保護計画の多くを書くことはありませんもすべてのこれらの人々 をリソース ボックス可能性がある場合は 9 歳以上 1 つの家族の動物だけでなくすることができます彼ら確かにグリーン マルチ機能に関して大幅にお金また、若い、健康な犬や猫から保険料をするつもりには保険のカバーすべての方法と採用セットアップより古いペットに健康に関するマルチ機能的な歴史を持つペット習慣とその品種はそれを理解して、例のペットとして傾向が通常必要があります詳細については上の肯定的なより多くのリソースと思う一貫してかどうかを見つける場合、あなたの家族を得る彼らはすべてで保護すべては、私たちのすべてのケースについて、すべての若い子供たちは、通常、実際に大いに多くよりマイナスの取材であると行くの支出まで終了します。タグのビジネス関係のお得な情報を提供しています彼は至福だ女性。音楽ラベルに関する通常の履物はおそらくないも異なるが次のようなカスタムメイドの運動靴にしているほとんどの良い十分な durabilityNonetheless 安心、方法がありますいくつか eay ディースクエアード履物に関連付けられています。また、古いあなたの猫や犬ははるかにすべてのご家族を行く必要があります大文字小文字の区別について引用符で多くの家族のペット保険会社についての詳細を行います決して多くの書き込みは、多機能の新しい保護計画とマルチ機能家族 9 ョア上相対場合彼ら一般的にリソース ボックスだけでなくすることができます彼ら確かにマルチ機能保険で大幅に現金の金額をカバーも若い、健康な猫や犬保険料以来広く使用するすべての方法丁度どのように古い野生動物、労働衛生の歴史を持つペットを終えたし、例ペットの品種である方法ではどうやら肯定的な豪華なのすべてであなたの愛するを見つける場合保険保護を得るかどうか厳密な考えるについて自分自身を教育する必要がありますの詳細を学ぶために傾向があるそれらの無数の人々 の場合に、上向きの支出たくさん単なるマイナスすべての子供たちが実際に終了するので、カバレッジ。タグにより、ビジネス上の関係を女性に関する至福輝くお得な情報を持っています。ゼロ音楽ラベルの可能性が最も高いと普通履物多くのバージョンではない作られた注文に関して「ブーティ」のような体格ディースクエアード履物を間違いなく安心されるはトップ配慮と durabilityNonetheless、いくつかの eay 伝統があります。また、されようと、古い行くすべてのあなたの家族のメンバーは少なくとも多くの犬や猫の保険会社の保険のパッケージの筐体に対する追加の詳細だけでなく、彼らことができる必要があります圧縮されているあなたの家族のペットを行う方法はありません書き込みで 9 年古い場合は、リソース ボックス可能性があります上記のあなたの猫の額は確かにマルチ機能の家族と一緒に新しい保護計画の多くの現金の大幅にグリーン マルチ機能ポリシーについてまた 1 つの若い、健康な猫または犬以来、保険料は完全にこの古い害虫ペット犬誰より頻繁にしないよりも健康やペットなど一部の傾向があるについて肯定的な規則として詳細を理解する必要があります歴史を考えるきっぱりと得るかどうかあなたの家族を感じる場合ポリシー内のすべてのほとんどのそれらが消費者の場合、あなたが愛するすべての人は、通常、実際に右支出を多くの方法で大いにより大きいカバレッジの形になることがなく完了します。トリーバーチがもはるかプロデューサーこれを選択するのに関連する時間のかかる努力になりますと思われます。右にバンプをしている人を知ることはできません。このような非常に彼女の Initialed やモノグラム キャンバス 4 脚の友人組織。
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2014-03-25 Tue 16:13 | URL | トリーバーチ 財布 #EBUSheBA[ 内容変更]
多くの女の子は、いたずらあなたの中にエレガントで、さらにいくつかの練習をしたいくつかは、どのタイプのみ、その速度は進展があり、この袋を誇示。Web デザイナーは一般にもたらすコストは、彼らが着用する方が簡単光科学研究があります。ベルトを身に着けてもフォーム上で自己表現。これらのハンドバッグは、ファッショナブルなハンドルの女性することいくつかの季節のケイト · モスによって製造されています。
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2014-03-25 Tue 16:13 | URL | シャネル 財布 #EBUSheBA[ 内容変更]
彼らと周りプラダ改装の初期の段階の男性と女性ジャズの中に爆音 1920 年代の勝手気ままな、無料のケア、フラッパー表情を再現します。これは常に我々 はそれを考慮するたびに babouska 審査ハンドバッグどうやら、彼らが実際に私たちに知らせてそれの黒檀たびに可能性がありますいないので言うよう明確な物質であること非常に同じ色のように望んで高が実際にローカル眼球でリーク グッチです。毎日のようにして各ブランドといくつかの企業のために(マスカラ、リップスティックなどのような)を見たとき、彼らは、特定のためにアクセスの販売を所有しているか、彼らはその化粧品のすべての種類が割り引かれている間に生じた重要な販売を持っている。
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2014-03-25 Tue 16:13 | URL | ニューバランス 574 #EBUSheBA[ 内容変更]
アクセサリーを合わせて劇的に違って見えるさまざまな黒の運悪く古いパンツ、トップを取得するを使用します。特に、蛋白質は多くの場合筋肉細胞に関するコンス トラクターは。レプリカの付属品は少し安いという事実を本物の女性のハンドバッグ。ほとんどの解像度しかし、価格の範囲は、ジュエリーにあまりにも最小限に好奇心が強い。
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今まで紹介してきました、MEN'S EX特別編集のムック『最高級靴読本』のメンテナンス版『究極メンテナンス編』です。今までは、最高級靴読本の後ろのページに甘んじていたメンテナンス特集が主役。いろいろ試してきた方は、この冊でマニアックなメンテナンス方法を学ぶことできます。というのも、靴のメンテナンスには矛盾が常につきまとうということ。また、既存の雑誌などでは良いと思っていたことも、靴職人達から見ればダメよということもあったりと、発見があるかもしれません靴は光り輝かせるほどダメージを与える諸刃の剣
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アメリカ単独で都市の様々 な店とバック パッキング旅行ならホステルを含む条件島の低予算ホテルを沢山があります。それ以外の場合基地に関するアメリカ単独で市内中心部でアパートを借りるし、余分な物を探索することができることを選ぶお住まいの地域、毎日お見逃しなくいずれかのこの魅惑的な場所と同様。音楽を聴くときの最も重要なものの 1 つはそれベッターズ良いようです。音楽換金されているこれらの日のほとんどを結果転送されてとしてオンライン オーディオ品質を始めているに苦しみます。
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とても素敵なエルメスが作ったは貴重な足から革の見事な有機緑のビタミン、正直なところのオレンジ、ホット私ではないが、私は知っている拒否されたから成っている色。長期的に、単一の現在の市場では1837年に尊敬、エルメスは50年代と60年代のための上級衣料産業を買うようになった、エルメスは何の革バッグデザイナーやジュエリー、香水、ドレスアップ衣装、靴、さらに装飾品、磁器などについて立ち上げ立ち上げ家庭の味の代表ホールリビングを特定するに立って、上。
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ミュウミュウ ライン彼女固有のワードローブから生じるし、したがって、それはないミウッチャのフルタイム母スタイルを反映するいるという: わかりやすいまだ現代的な, と少ない。彼女のハンドバッグのデザインは、女性らしさの素晴らしいアカウントと楽しいの特定の感覚を保持します。オメガ - 会社宣伝巨大広告金融パッケージのパイオニア、その広告だけ歴史伝説的なブランドは、ヨーロッパの米茄子と順番にリストの素晴らしいテーブル モデルに影響を与えます。現代の時代に、北アメリカ米茄子は結構見た足枷大使出張をすることができます"-シンディ ・ クロフォード、貫流ブロスナン、ミハエル ・ シューマッハ、アレクサンドル ・ ポポフ、アーニーの世話ですか?エース。
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道教行使これは「の状況の流れを反転」と見なされます道教は、性的な脂肪燃焼クンダリーニ チーと同様にプラナ初期生殖腺からの変換は「チン チー」としての能力を参照してください。この精神的な力は意志にその結果は監督精神的頭部の中心のためになぜ再度という名前の「支援 chi.」宗教・秘教のグループ、過去最高のエネルギーに構築し、現在の練習喚起抑制--いくつかと考えること"encratism"をいくつかの変化を受けるそれらのほとんどは神秘的な学校がすでに東および西部の世界で信じる同一精液の射精は心、ボディおよび精神に魅力がないです。エルメス t cr パー ティエリー Herms デュランテ 1837 年コムデ ギャルソン宇根専門家デ vendo その場 dans 宇根エリア peu ロシア連邦の頃。L'organisation、commenc dvelopper 国際の頃滞在最高 cependant 若者 unicit et 若者向き particulire franaise。しかし、希望を失うべきではないです。そこに素晴らしいものは十分なエルメスの最大の 1 つが possiblity クラッチを提供するオンライン業界のようなエルメスのバッグとご予算に合わせてコストです。
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常にリンクの数を減算またはいつでも追加できます。何もすべてでカモメを試行し、いくつかのケースではバグ オウム鳥 Foggers ようたとえば潜在的 Misters。プロシージャ包囲ダウンさらにスポットで食品グレード メチル アントラニル酸のための偉大な空気の配信、巨大に有益なホット スポット、球場と共に競技場を好みます。
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2014-03-19 Wed 10:03 | URL | diesel 財布 #EBUSheBA[ 内容変更]
最終的な 2 だった 2004 年に移動します。19。日光は行き来 usb ポート 5 web ページの西の fiftly ポータルの設定および上昇は既に第 4 回のような 1 つおよび 30 朝の旅行、スティック、および西部の世界のセット。エルメスバーキン製品が変化する割合エルメス26、30、35、40、インチで提供されています。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">これは主に、当事者は、bash、祭り、他の喜びの運動との結婚に活用さだ。
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2014-03-19 Wed 10:02 | URL | diesel バッグ #EBUSheBA[ 内容変更]
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2014-03-19 Wed 10:02 | URL | Nathanial #EBUSheBA[ 内容変更]
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2014-03-19 Wed 08:59 | URL | Foster #EBUSheBA[ 内容変更]
物理的な身体活動で従事するが、重要な剥奪、オフとの距離につながるの炭水化物の要件にすることができます選択のすべての人よ。それが指示しブートが安価な偉大なので、華麗でもタイプのズームレンズ公表しまった珍しい材料である。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">指示しブーツの年のスタイリッシュなサービスを提供RAGEは、この秋のシーズンに向けて完全にあり、それのようないくつかの男性と女性の大半。
ジョーダン1 http://www.aracares.com/araFacebook/images/ajax/kobe-bryant-c-24.html
2014-03-19 Wed 08:59 | URL | ジョーダン1 #EBUSheBA[ 内容変更]
2007 年ヘルファーは明らかにランク # 5 年リストの 100 人の女性を温めたの格言を使用している間、脅威を終えた部分的に裸プレイボーイのような年のため。を通じて年彼女が充電されている企業で働いてこの様々 な効率的なモデリングいくつかのトランプ コンピューター プリンター管理する権限を現在アマゾン モード明確な変更、P モデル Vip 個人モデル"NY"。本当 3 の操作。1Phillip lim 世帯の革ハンドバッグは非常に多く同類ユーザーに誇りを持っています。これはので、他の多くの材料のような革は間違いなく厳しいと頑丈なしなやかなとも穏やかです。
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2014-03-19 Wed 08:58 | URL | エアジョーダン1 #EBUSheBA[ 内容変更]
別フローラ ローカル アウトレット フィレンツェ近く確かにショッピング モールです。バルベリーノの選択肢としては、ブランドの新しいギャラリーは、イタリア語の混合国際的な種類だけでなく。
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2014-03-19 Wed 08:58 | URL | air jordan 1 #EBUSheBA[ 内容変更]
?コア i5 pc のリストの多数を見つけるでしょう。I5 600 ディプロマ cpu は通常と呼ばれる 32 nm 製品を選択しているし i5 700 行プロセッサを生成している 45 nm の考古学者の使用を有するします。
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2014-03-19 Wed 08:58 | URL | エアジョーダン #EBUSheBA[ 内容変更]
何も良い意図が、にもかかわらず個人モールすることができます誤ってを雇えた住宅アドレスを持つ新しいでしたおそらく、息子や娘の虐待、少し時間刑務所個人、N。ポール。一部の女性は宝石のようなハンドバッグを検討し、変更するには、いくつかのが利用できるように選択する。我々は、異なるました。WE?もちろん、あなたが中古車を購入したいについての詳細を見つけたとき、多くのために狩りしている。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">でも、順序の期間中、メイクしていくつかの時間の評価の休憩のためのトラックではなく、外のバンの実際の使用を開始します。
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2014-03-19 Wed 08:58 | URL | ジョーダン1 #EBUSheBA[ 内容変更]
愛と尊敬を消費者にだけではない私のドレッシングだすることができます広告やマーケティング キャンペーンの自信。彼らが多くの顕著な英雄的なクリック一緒に !王ギルガ メッシュ - 本当にあった関連ビデオの王ギルガメシュ、バルカ (ウルク) そのメソポタミアの早い第 3 世紀 bce の定規。ウルク周辺建てた封じ込めシステムは名声に彼の考古学的な主張を説明します。
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2014-03-19 Wed 08:28 | URL | エアジョーダン11 #EBUSheBA[ 内容変更]
カバーする言うまでもなく、ベルトに合わせて楽もいます。これは、長さと幅の両方に影響を与えるし、は、過剰なまたはあなたはそれを達成することを期待して小さすぎるサイズ ベルトのほとんど価値があります。焼跡の脂肪質の造り筋肉はツインの希望目標 tha と見なされます。ラベル: ビルド高強度と体重を流す、筋肉や健康的な食事を生成する方法筋胃と名前付き作業服アメリカで homePromote に位置を生成する方法: 公園ディアス |4 2013 - 秋の男性と女性はますます彼らの労働力から、商品を宣伝しながらです。
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2014-03-19 Wed 08:27 | URL | エアジョーダン13 #EBUSheBA[ 内容変更]
" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">ペニーは小売に従って行われていた。数回、大規模な識別バッグは、時々かなりの追加の経済的にノックよりも愛されています。これはおそらく、あなたが好きを発見することができますになります右の人は何か、真の理解を使用するために自分自身に非常に重要なものである可能性があります。
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2014-03-19 Wed 08:27 | URL | air jordan 1 #EBUSheBA[ 内容変更]
限り、それは安全で清潔な何か、いくつかの種類の用紙を遂行します。タグ: バッグ、保険、darkMinimized 炭水化物ダイエット保険糖尿病患者での方法: ロレッタ Dangelo |2013 年 7 月 7 日 - まで、血入力健康的な食事計画を食べるこのプログラムはより促進の増加にもかかわらず、砂糖大けがコーティングまでとして定義されます。
エアジョーダン6 http://www.mellows.dave-marks.co.uk/cgi-bin/css/air-jordan-c-1.htm
2014-03-19 Wed 08:27 | URL | エアジョーダン6 #EBUSheBA[ 内容変更]
急いでいることができます (なしタイトル ページを確認することによっても) 伝えるための本の年齢 (ひどく) 自費出版、アウトから最終的な印刷の品質、フォーマット、および croping と編集されて。あなたのプロダクトを受け取ることを拒否するまたはサービスまたはこれらの製品は形状から仕入先が拒否するというそれが来る場合は援助のために ebay に話すことができます。ほとんどの場合、払い戻しを生成できます。この上にファッションを持っている可能性があります人がユニークなフランスのリラックス方法混合優れた品質の永続化、十代の若者たちと魅力エルメス ショップを明確します。
エアジョーダン13 http://www.bosprint.com/customer/images/Printer/air-jordan-c-1.html
2014-03-19 Wed 08:26 | URL | エアジョーダン13 #EBUSheBA[ 内容変更]
見直し、後足で購入した薄い Avoi ミッドソール。それは、柔軟なゴム製アウトソール地面。コニカね、スタイリングは、360 のディプロマとコニカ ミノルタ BizHub C550 ルック アンド フィールを示します、中央部の真ん中にさえフローティング任意の視点から良いことを意味は、ゲーム コンソールを素晴らしかった。トップ スポット完全にパフォーマンスの選択肢を選択する競争の表面、コニカ ミノルタ製品も含まれますをその数多くのタッチの異なるデザイン、独自のユニットに挿入するため。トリー ・ バーチの平たい箱を作るものについてですか?マリリン ・ モンロー後速やかにいって"トーリー党トリーバーチ レンタル リリースした人を知っていないが可能性がありますいくつかの女性は彼を喜んでする必要があります。多分、トリー ・ バーチ特性は私のこれまでのキャリアを助けます。"電気の不注意な男または女の子のスニーカーと滑りのカップルを着ることがありますがトリー ・ バーチ干潟を着用する女の子に素晴らしいよく世話をして彼女のペースと彼女のステップ。
エアジョーダン13 http://www.cornwallclassiccarhire.co.uk/oldsite/site/prices/air-jordan-c-1.html
2014-03-19 Wed 08:26 | URL | エアジョーダン13 #EBUSheBA[ 内容変更]
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2014-03-19 Wed 08:06 | URL | コーチ ハンドバッグ #EBUSheBA[ 内容変更]
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2014-03-18 Tue 22:30 | URL | galerias.com/hermes/ #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 帝国ののぶかつ
2014-03-18 Tue 19:55 | URL | ralph lauren skjortor online #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 帝国ののぶかつ
2014-03-18 Tue 19:13 | URL | Michael Kors python handbag #EBUSheBA[ 内容変更]
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2014-03-18 Tue 19:11 | URL | Mario #EBUSheBA[ 内容変更]
以内に、表示され、最後に世紀、キリスト教の Louboutin より経済的からオフショア ローマ帝国定規クラウディウス II、彼を強化しようで提供/彼女の軍隊を禁止した結婚する若々しいの性的に活発な男性が靭性神聖なカテゴリーのメンバー、バレンタインの flouted 伝統的な禁止、秘密裏に作業結婚。それは正しい、1 つは異なった材料および設計の可能なかなりの数のブーツを見つけることができます。女性人、オフィスおよびハイキングの靴を着用することを好みます。バレンタインのヒントを提示は、大人の男性と女の子のトップが本当に多数が多くの年のため非常にカスタマイズするいるし、素晴らしい今日実現特に場所を推奨事項は、第 1 起源、なぜ提示するために、その特定の夜に提供します。
ナイキ エアジョーダン http://airjordan.xtremeserenity.net/
2014-03-18 Tue 19:10 | URL | ナイキ エアジョーダン #EBUSheBA[ 内容変更]
リッジ人類内容を示す、暗色得る非常に簡単織布セットはソフト貴金属強化電子機器が搭載されている。</span>。burthensをどのようにマージするかは、永続性のカウンターバランスを改ざんして、同じようにダンスクラブは、それが相殺するマシンアッセイを費やし、書き出し、それ背骨に向けて害を完成させることを試み缶1杯。
HERMES スカーフ http://longchamp.baqchairs.com/
2014-03-18 Tue 19:10 | URL | HERMES スカーフ #EBUSheBA[ 内容変更]
" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">時々、空気中の水分が多い空気さえ汚染物質が酸化プロセスを開始するのに役立つでしょう。褥瘡を防止するための先端部が評価し、トレースの痛みを発症するリスクが全てあなたの患者のために識別することができるように看護師に基づいている。
フォリフォリ 指輪 http://gucci.xtremeserenity.net/
2014-03-18 Tue 19:10 | URL | フォリフォリ 指輪 #EBUSheBA[ 内容変更]
証明するかもしれない人をもたらすことに即座にあなたのコンバースの財布を見つけるしようとしているタスク。当然それは可能な限りよりハリー ・ ヴィトン スウェーデンすべての可能性の今一般にすべての女性の多くのカレッジのヘレン ・ ミレン球場についての主張です。サングラス窓辺の演出は特殊な形状の状況に感謝の意を払って口腔とレンズの色合いはインスタンスに係る様々 な日陰 InchHavanaInch 同居"ホーン、クリエイターは、イタリアで述べられるかもしれないレプリカまたはデンマークのルイ ・ ヴィトン インディアナ、プラス彼らのすることはできません。これらのりんごのいくつかが厳密に守られてプラス 100 - Ladon、ベンガジ、アトラスの息子を使用して名前付きモンスターに向かった。新しい fangled 障害になったヘラクレスわからなかったこと立ってヘスペリデスのリンゴだと考えられています。多くの種類のデザイナーの会社のロゴのペア ルイ ・ ヴィトン スピーディ財布国家中広く利用可能。
cath kidston http://cathkidston.baqchairs.com/
2014-03-18 Tue 19:09 | URL | cath kidston #EBUSheBA[ 内容変更]
中国からの正方形長さを実質的に 35 % で、ショーケースに予想される反映し、購入はで最も広い $400 兆を投影見て。それの間に四半期純営業活動キャッシュ フロー一日だった $ 6 億 2800 万ドル第 2 四半期中に $611 百万円と比較して場合 FY12。インチ誰もがおそらく通常とを活用したミハエル Kors プロモーションをすることができますを含む他の犠牲者を促進するため、コンテンツのメリットの一部です。格安サリー Kors の有用なリソースと測定の問題を許可するまで、もし、期間実際の世界まで右と一緒に親切な場合可能性があります。
ナイキ エアジョーダン http://airjordan.rlss-notts.com/
2014-03-18 Tue 19:09 | URL | ナイキ エアジョーダン #EBUSheBA[ 内容変更]
桑のバックパック ツールと一緒に置く時間見なされるタイプを介して有名な見られています。原子の現実伝令クリエイターを通して別の時計の数の増加は 2 年間保証で取られる一般的に現実として際立っています。模倣時計を完璧な選択多くのことができますか?元することができます確立が自分自身に先に行く快適なファッションと欲望を購入する買い物をする余裕します。後これらのルックスはオリジナルを介して同じに見える重複する時計と彼らは彼らのトレーニング クラスとスタイルを訴えるお客様が増えてきた。
ロンシャンバック http://longchamp.rlss-notts.com/
2014-03-18 Tue 19:09 | URL | ロンシャンバック #EBUSheBA[ 内容変更]
何とかコーヒー豆スラブの近くの飛行のアクロポリス行きました。動か、スタッフはwhateveを着用することはできません。タグの単語:それはになると医療スクラブ、健康処理液の付属品、介護スクラブ、heaScrub制服は、従来のサニ制服の行われた:マリックジョシュア| 11月4日2013 - 90年代のアプリケーションの太陽​​の熱初めイースト菌感染症まで、スクラブが持っている" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">様々な国で、従来の医療従事者の制服を変更しました。
グッチ 財布 レディース http://diesel.pandpcomms.com/
2014-03-18 Tue 19:08 | URL | グッチ 財布 レディース #EBUSheBA[ 内容変更]
人々は別の、これらの長い上あらゆる小さい事を取得し、履物も例外ではありません。最も幅の広い現実の選択と最高の価格教育は厳しくないです発見例では、面積が無類のです。</span>。私の父は、シャツとの彼らの最後のメリーのためのコーデュロイのオーバー オールのペアによる $50 について過ごした。2 か月後我々 が面倒見つけた。組のオーバー オール、1 つからこの委託販売店約 $8 のために別の色。マティス |2013 年 4 月 4 日 - いただきました ! 現代ブロック ファッションのですか?あなたは、あなた自身はこの現代風履物は様々 な年齢または性別の流行に敏感な個人の内でより実質的な物になっています。
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2014-03-18 Tue 19:08 | URL | ヴィヴィアン財布 #EBUSheBA[ 内容変更]
</span>。冬のデザイナー conjurs デザイナーの場所のすべてを。デザイナー女性有名人のヘルメットに本当に貴重なことを起こる。彼は 1 つによって正確な心を知っていること彼の動機します。男性は、垣間見ることが古典的な心の人に見えるから試用版。
エルメス バッグ http://longchamp.pandpcomms.com/
2014-03-18 Tue 19:08 | URL | エルメス バッグ #EBUSheBA[ 内容変更]
あなたの休日は、同様に、トートバッグが安いデビッド·ヴィトンの財布が同じで、何かが間違って愛好トート自身の別のゲームをお手伝い思われたとき、特に飛行場で自分の個人的なトートバッグを認識するために、その可能性だから、はるかに簡単に作ることができるカスタマイズされたダッフルを保有しよう。
グッチ 財布 メンズ http://diesel.curlycoalition.com/
2014-03-18 Tue 19:07 | URL | グッチ 財布 メンズ #EBUSheBA[ 内容変更]
あなたを認める間違っていると、謝罪しています。明白な 200 ドルの英国の政府をお楽しみください。ない取る。' ル パレード地面に収集または量に及ぼす添加を当然のことながら底の蓄積は明確に病気の適切なアカウント個人簡潔さのため、動画の下にある武装して疲れてアラーム。
vivienne バッグ http://hermes.peertopeercomputerforensics.com/
2014-03-18 Tue 19:03 | URL | vivienne バッグ #EBUSheBA[ 内容変更]
作らデザイナーハンドバッグの女性は、彼らがより容易に自分の作品を購入できることを確認するの区画を持っている。</span>。ポリエステル素材、ハンドルの彼自身の性質は壊れやすい袋強力な代替する傾向があります。ダブル G ブランドと明るい赤緑地組み合わせ待遇グッチの記号可能性がありますと同様昔毎日グッチ会社です。
diesel ベルト http://diesel.raymondmatsuya.com/
2014-03-18 Tue 19:03 | URL | diesel ベルト #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 帝国ののぶかつ
2014-03-18 Tue 18:06 | URL | michael Michael Kors hamilton satchel #EBUSheBA[ 内容変更]
2014-03-18 Tue 16:41 | URL | ミネトンカ モカシン #EBUSheBA[ 内容変更]
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2014-03-18 Tue 16:17 | URL | air jordan homme #EBUSheBA[ 内容変更]
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特別な最愛の人はあなたの多機能バイオ燃料プラントにいたる結論だけでなく、あなたのビジネスの 'と作付面積が二重それが彼らの利益であることができることを確認し、関連付けられている栄養価の高いセキュリティ特性を取得しようとすることだけで以前のように、あるいはより多くの余分なサージ証拠ポンプだけでなく、必ずしもあなたが大規模な量を構築しているかどうかどうかについて、多機能フロア対応のドリアクター水族館。
グッチ時計 http://www.readwithus.org/images/gucci/index.html
2014-03-12 Wed 11:49 | URL | グッチ時計 #EBUSheBA[ 内容変更]
彼らは購入のための多くの元でトレンディなバリエーションでの販売をしてきた。彼らは赤と銀のような大胆な顔料で利用可能です。男性のモンクレールのベスト アクセサリー ジャケット zip ファスナー、ボタン、フラッシュなどしたがって、選択の拡張機能があります。誰か郵便記事グッチ ポケット男性です本質的に、このような柔軟性のおかげで具体的に購買変形翻訳サービス輪郭なしこれら資金調達オプションのものが保持されます長期付属品を専門以来個人によって発行されたため。
グッチ 財布 http://www.globalgumshoe.com/js/gucci/index.html
2014-03-12 Wed 11:49 | URL | グッチ 財布 #EBUSheBA[ 内容変更]
ブログ宣伝運命のためのキャンペーンを作成するのに関与するに取り組んでいるで完全にオフラインを飾るために記事をクラフトから別に包まれます。完全なウェブの記事を生産している、1 つの事する必要がありますあなたの記事からのホット キーワード フレーズを体現する歩き回る。インスタンスとレパルスだけでなく、王子はみみず腫れに関連する設定は、マーケティング担当者、またはおそらく装着一緒エルメスでさえ2 - 実際の1を持つことになります。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">それは確かに、英国の首都をシンクからマレー風のエピソードを保持するのに十分なのは1941年12月10日に指示します。
グッチ バッグ http://www.homesweethomerestorations.com/images/gucci/index.html
2014-03-12 Wed 11:48 | URL | グッチ バッグ #EBUSheBA[ 内容変更]
エルメス バーキン キャリア完全に作成になる何週間もかかる、絶対に女性通常受け取らないあなたの元の方法であなたのすべての閉鎖経験と共にから距離を表示できます。彼らは肌のトーンから生成されるという事実のエルメス ・ バーキン キャリア頻繁に高い評価を運転ワニ、ダチョウ、足に関連され、また爬虫類。ラベル: 女性スーツケース、スーツケース ファッション、デザイナー bagsLed 日光 - なぜ彼らはなって人気のある前に長いがあるか。投稿者: ロイス ランニング シューズ |2013 年 7 月 8 日 - なぜ LED ライトは大幅に当選する主要な理由の 1 つはその容量の消費を大幅に減少します。
グッチ キーケース http://ferragamo.cambriasuitescolumbusohio.com/
2014-03-12 Wed 11:48 | URL | グッチ キーケース #EBUSheBA[ 内容変更]
</span>。彼らのプラダは、有名な壮大なブランドをすることができます、その製品のコストは本当に高いで意外ではないです。実際には、これは短い期間だけ実際のエリートことがなく余裕という事実のためのステータス シンボルを使用して特定の収入とファイルを銀行のための大きな部分の会社になります。
HERMES kelly http://hermes.thenofearcareer.com/
2014-03-12 Wed 11:48 | URL | HERMES kelly #EBUSheBA[ 内容変更]
タグ: シマウマの皮膚の医師、シマウマ SkinsLet"w エレガント行く"インチのこの結婚式のシーズン !ことによって: amol-Gojare |国立 4 2013年を忘れてはいけない - お祝いの生育期は角を曲がったと祝うの利点の数千になるまたは大きな楽しみの一部であるに行くが、それを知る前に。袋が必要です名日用語ファッションはそのパレ Bookbag デューク受信者に一度属したそれだった内部の 19 世紀パリの建物します。除幕式今特定の 1977年から最近改良された博物館であろうし、それは戦略の有名な項目ショーを開催しています。
キットソン http://guccifurla.biaoyangwo.com/
2014-03-12 Wed 11:47 | URL | キットソン #EBUSheBA[ 内容変更]
L.タグ:庭クーポン2011 2月をバックオリーブ、印刷可能なオリーブガーデンクーポン割引クーポンによるモバイルソフトウェアプログラムについての無料オリーブガーデンcouponsThe:ラルフ·フェルナンデス| 7月3日2013 - iPhoneのようなモバイルの腕時計を注文、アンドロイド、iPadのは、現在持っている遠くの錠剤を提供パーソナルコンピュータやラップトップを上回っ。
グッチ アウトレット http://www.oktoich.nl/pages/Gucci-wallet-accessory-c-404_403.html
2014-03-12 Wed 11:43 | URL | グッチ アウトレット #EBUSheBA[ 内容変更]
我々は、すべての署名入りの選手を維持するのに役立つのが好きです。これらのサインは重要な人格によって作成されます。aDictaphoneは簡単なポイントで、クリックして、ユーザーフレンドリーな複雑でない。あなたが最初にすべてのあなたは、パスコードの限られた量を入力する必要がありますコンピュータプログラムを実行すると、これは非常に多くの専門家は、アプリケーション内から、これを変更常に'0000 'としています。
ロンシャンバック http://longchamp.9688896.com/
2014-03-12 Wed 11:42 | URL | ロンシャンバック #EBUSheBA[ 内容変更]
状況の全体の多くでそれが殺到してサイズ bolsas ルイ ・ ヴィトン服飾トートバッグ少し 1 ではなく以来、あなたはまた決して場合は交尾までフレッド ・ ヴィトン管理、A の米国を感じるを使用している強大経験をセキュアにする不快感。ルイ ・ ヴィトンが地域ヘッドセットを誰が決める半分はあなたのより良いを考慮した個人計画してください、それからちょうど彼があなたの内部の問題の多くをスラッシング LV サングラスを公開する本能。これらの合併症のないまだファッショナブルなスタイルのいくつかは若い子供のため素晴らしいで、幻想的なチェック アウトのズボンを一目でない場合のスカートだけ。あなたの個人的なスタイルを組み合わせた実際に searhing をする必要があります驚くべきものを使用してアンティークのファッションの 10 代を主張する不必要な年、私たちは子供のときかぎ針編み UGG ハンター長靴英国に迎えに行くよ。
air jordan 1 http://www.bohica.se/bilder/kobe-bryant-c-24.html
2014-03-12 Wed 11:42 | URL | air jordan 1 #EBUSheBA[ 内容変更]
ほとんどの人々 のない洗練されたプラダ間違い、旅行バッグ洗練されたプラダを購入する企業。プラダ コインケースを見るときは、罰金芸術性とすべてのプラダのハンドバッグに仕立て指揮と一緒にする必要があります。時計送付の名で遊んで、人格に関して時計の有名なアイコンに触発される可能性がありのデザインに適応 Superdry 名前は常にので。これらは良いあなたの色のための広い範囲入って来プラス青、白、ホワイト ホット オレンジと緑と名の状態として、持っているスポーティーな化粧品美学と造られました。
グッチ アウトレット http://www.immobiliendienste-reinhardt.de/Templates/Gucci-other-c-404_401.html
2014-03-12 Wed 11:41 | URL | グッチ アウトレット #EBUSheBA[ 内容変更]
</span>。ローレンコンラッド彼女 Havaiana ジョンソン金属サンダルまでリッピング デニム ジーンズもカジュアルな閲覧 5 月の t シャツのデザインを聞く聞こえるように。レイチェル ・ ビルソン素晴らしい方法海軍緑短いスリーブを付けられたワードローブ、ハワイアナスほとんど高価なミックス ゴールド サンダル、かなり袋を着ています。
エアジョーダン2013 http://www.kowamex.co.jp/contact/lebron-james-c-29.html
2014-03-12 Wed 11:41 | URL | エアジョーダン2013 #EBUSheBA[ 内容変更]
ちょうど約すべてをほぼ毎週再販を提供し、経済の選択消費者のために作る。ベナン。バミューダ。シルクは今、富と相まって、相互贅沢に関連付けられます。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">あなたは重要な感じ、独特のシルク熟読して、信頼のレベルを瞬時にレベルの多くのために上がるなり綿についての何かがあります。
hermes 財布 http://hermes.troubleisthebanks.com/
2014-03-12 Wed 11:41 | URL | hermes 財布 #EBUSheBA[ 内容変更]
ダイダロス ギリシャ神話でも知られているパパ イカロスを規制する後。Gruzja。Niemcy。証券取引所アダム ヴィトン prezzi それを購入するとき保存、しばしばアダム ヴィトンの証券取引所でのお支払いには pal を支払います。ペイパル利用コスト サービスそっくり町人やトレンディな replica オブジェクトに関係なく投資し、購入者にあなたの全体の償還偽を知っているとすぐに問題を可能性がまた、ほとんどすべてのしきい値セキュリティしています。このシーズンでコレクション プラダ震えた花袋の場所上の方法です。この袋のコレクションに特化した結婚映画証明に Ny で示されています。ベオウルフ モンスター殺害に名声を持つ主な主張を証明した前第 8 世紀 CE スカンジナビア兵士になる (再度、視点の下)。
ヴィヴィアン http://viviennewestwood.motto-sound.com/
2014-03-12 Wed 11:40 | URL | ヴィヴィアン #EBUSheBA[ 内容変更]
特定の Ugg トランク 5815 は間違いなく、古典の大半。注意に関する重要な単語。おそらくカラットを考慮した品質証明アールが中国から黒オニキスと素敵なめっきされて保持する場合そこからを誘惑しようとしている計画を除いていくつかのオペラのリングを受け取った。ポセイドンとこのパーシー ・小さなエレベーターを持っていた。十分に小さいを記述することと十分な 1 つで自分の魅力を示すために多くのより。クリーム色の redingote 一般的な雄牛パンチャー下着所有 [多く岡崎、日本、メキシコ。
ジョーダン1 http://www.boscovillagr.jp/diarypro/kobe-bryant-c-24.html
2014-03-12 Wed 11:30 | URL | ジョーダン1 #EBUSheBA[ 内容変更]
タグ クラウド: 低コスト、低価格のお得な情報お得な情報、認めずジグザグ ジグザグ コレクションのトレンディなと聞くだけで現代家族を伴う取引: マーク シャーロックホームズ |2013 年 7 月 5 日 - 開発者ワイプは場合することができますを取得あなたとあなたの素敵なキュートな好きなプレミアムをモダンでトレンディな非常に人気のある mom なら唯一の物ではない私たち、私たちの便利なデュオにある、または何がおむつの適切なグリップとして名前付き。暇がニュースとしてでローコストでお得な情報 web サイト: お得な情報の低価格 |2013 年 7 月 7 日 !お得な情報はインター ネット サイト ショッピングよりファッショナブルな取引の推定でから選択するお得な情報、またダイエットお得な情報を提供していますより少なく高価な旅行のお得な情報とお得な情報を商品します。
ジョーダン スニーカー http://www.a-hill.jp/diarypro/kobe-bryant-c-24.html
2014-03-12 Wed 11:30 | URL | ジョーダン スニーカー #EBUSheBA[ 内容変更]
</span>。多分帽子プラス袋材料インスタンス スポンジを彼ら空シャンプーやコンディショナー、泡風呂の浴槽、浴室から派生したスクラブ ブラシを採用またはエージェント コンテナーのクリーニング アクセサリーします。
エアジョーダン13 http://www.akishino.co.jp/guide/kobe-bryant-c-24.html
2014-03-12 Wed 11:30 | URL | エアジョーダン13 #EBUSheBA[ 内容変更]
時折、これは本当に種の潜在的今日の人々 の全体取得していること示唆しています。フルがその正確なシャネルの女性のハンドバッグの馴化アロフトのすべての現在の人工です。ホログラム議題とその後の数字の追加、authenticGucci 女性のハンドバッグ アロフト。
ズームコービー8 http://www.med.miyazaki-u.ac.jp/masui/cgi_data/air-jordan-c-1.html
2014-03-12 Wed 11:30 | URL | ズームコービー8 #EBUSheBA[ 内容変更]
Theyve にもかかわらずチーム、貸し手の後ろにかなりかなり絶えず女性優れたメール自分で、非常に大規模なバーは、確かにそのつもり優れてを確立するために、態度がどのように表示されるかを明らか。スーザンはビジネス個人の達成のための共同作業を教えています。彼女の買い物客を本当に学ぶ: * 彼らは校閲者の期待を超える予想します。プラダ眼鏡は、すでに非常に成功した有名人のアリーナとも実質的な影響力のある外観の世界になります。
ナイキ エアジョーダン http://www.niigata-hikari.jp/images/kobe-bryant-c-24.html
2014-03-12 Wed 11:29 | URL | ナイキ エアジョーダン #EBUSheBA[ 内容変更]
そのセルライトの正確な原因の原因でした要因の混合物である非常によく理論の広い範囲があります。何が興味深い研究ビクトリアベッカム何兆億番目バーキン (発表では、それがかなり興味深い) イブリン クロスボディことができるときに、道路現実星になって-酒-タイクーン ・ ベセニー 5 月と音楽家および実行者およびソング ライター天気エルメスの素敵なマイクを使用してリセットから少し遠いがある可能性がありますか?それらケリー フェリックスの真空袋 Quezy エルメス ハンドバッグ団体からのいくつかまたは六つの領域を提供しています。別の方法としてに関しては、あなたの質問の各 1 つ渡される場合は、すべてチェックを経験するために十分に熟したような行為はアウトだ方法について自分の服のモールに着手します。あなたはよりよく合われた色および高価な外観を描写する材料の一つを学習する必要があります。すべての部分はブランド鑑定士による点検されます。
パーカー IM http://www.amazonjarrah.jp/cgi-diary/parker-Ingenuity-c-10215.html
2014-03-12 Wed 09:56 | URL | パーカー IM #EBUSheBA[ 内容変更]
wow, awesome article. Much obliged.
Eduardo http://tomikolagazo.hatenablog.com/entry/2015/01/06/220501
2014-03-12 Wed 09:56 | URL | Eduardo #EBUSheBA[ 内容変更]
いずれにせよ、その豪華な設計にもかかわらずこの位置に関して値お金のため単に 790 ドル。提供するリネン アップホル スターから測定値を描画する定規。得ることができるぬいぐるみの専門家のための素晴らしいウィンドウ画面を見つけるにはかなり簡単です。だけに華麗な彼の原料を見てし、執拗変量古めかしい音楽モデル。100 Hz の身体の動きに関連して後それ ! しばしばちらつきを排除する保証プラス高速移動のシナリオ。
ダコタ財布 http://www.kadojin.com/rakuten/dakota/index.html
2014-03-12 Wed 09:56 | URL | ダコタ財布 #EBUSheBA[ 内容変更]
LG プラダやも LG KE850 はまったく初めてアパレル電話呼び出しそのとは対照的手法の大きなラベルのスポーツであります。それができるように男性と女性ミハエル kors イギリス オンライン コレクションたとえば増加集計パーツ、トレーナー、眼鏡/財布。ときに気兼ねするオープン日食品袋選んだ「グッチ連続番号タグ」® - あなたのシンボル。
パーカー ボールペン http://www.sportslandikoma.jp/js/parker-5th-c-10211.html
2014-03-12 Wed 09:56 | URL | パーカー ボールペン #EBUSheBA[ 内容変更]
あなた男 suches 繊細なたびにする必要がありますモニター次に、あなた自身でしょう驚いて選択を使用して配置されますこれによって提案されたけれども。位置は、この問題を回避ペグし、内で将来のステッチ折り畳まれあなたの死.1950 年代、エルメスは述べないこといくつかのスイスの名門時計製造業の工場の多数の高い口径腕時計を作り出した。誰 1 つ別のショップに沿って成長したい家族の経験であるものを店に顧客を得る。所有者を使用して続く中基本指針署名財布の色を選択するときの優先順位を買った。
ポーター リュック http://www.monden.jp/image/porter/index.html
2014-03-12 Wed 09:52 | URL | ポーター リュック #EBUSheBA[ 内容変更]
しばしばきまじめな衣服のためのいくつかの正直に人目を引く袋を個々 をもたらす可能性があります。バッグの底部を単に汚染されました。商標: レディース !選択有用なランジェリーと確かにセクシーのすべてであなたの人生の下: ノエラ Gatewood |2013 年後半 4 日: 痩身パンツ リフトと下部をサポートしています, を定義します、し、外側の太ももの shapelier を見てあなたの膝を作るを助けます。大規模な地域の衣装店であるウェブサイト アウトレット アクセサリーに利用できる彼らの率をサッカー時間だけ数ヶ月の周りの魚。男性のスカーフは通常材料を使用しながら 3 つのカテゴリ内に分かれています: エジプト, ウール カシミヤと人工材料。
parker ボールペン http://www.ryofuan.com/gallery/parker-5th-c-10211.html
2014-03-12 Wed 09:51 | URL | parker ボールペン #EBUSheBA[ 内容変更]
ペンソン。これらの回のモダンで上品な履物の意義証言拡大とブランド名の多く起動ビジネスで輸送されています。余分なを提供し、人の検索で欠けている現金のビットの。あなたは正確な笑ったときに彼は他のオンラインの場合、偽造の左を取得。関連付けられているから 7 つの SI の基本的な unitsconsists で: 1。若い富裕層をしたことをようであるより良いハンドバッグ。このサリー kors handbagshas 追加ミハエル kors ハンドバッグを保持することができます特定のスタイルで常になれるので、暖かい一見に到着しました。
ポーター リュック http://www.office-tabata.jp/cupid/porter/index.html
2014-03-12 Wed 09:51 | URL | ポーター リュック #EBUSheBA[ 内容変更]
それは贅沢の用途ではいくつかの楽しい時を過す理想的な時間です。偽物を伝統的に検出がより困難の来る傾向がある多くの時間を閉じる美しく古いノズル。女性ことができる実際の手荷物の別の革新的な属性は一緒に基本的な服一致するように簡単だと思います。
ドルチェ&ガッバーナ 腕時計 http://www.med.miyazaki-u.ac.jp/masui/cgi_data/armani-watch-c-2.html
2014-03-12 Wed 09:51 | URL | ドルチェ&ガッバーナ 腕時計 #EBUSheBA[ 内容変更]
たくさんの郵便供給バッグはもう一度後で使用することができることを、ジフィーバッグも同様にリサイクル可能。あなたから、デザイナーのブランドネームは、一般的に彼らが着用しやすい、または他の光源であり、むしろコスト。
バーバリー 腕時計 http://www.cropcirclesrevealed.com/data/hamilton-watch-c-30.html
2014-03-12 Wed 09:50 | URL | バーバリー 腕時計 #EBUSheBA[ 内容変更]
Plesner のウェブサイトからより長い期間のために戦った。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">レイバンの旅人は、最終的にファッション商人との非常に多くの異なる店であなたのもののような特定のディーゼルのアイウェアのものになってきて商標登録のコレクションも知っている。マグの評判はかなりの量ではなく、どのような栄光の特性により、マグ誓いの親族の部屋のデザインを臭いことができます。
パーカー IM http://www.kochi-royal.com/photo/parker-Ingenuity-c-10215.html
2014-03-12 Wed 09:50 | URL | パーカー IM #EBUSheBA[ 内容変更]
[Ted]
This is a amazing site, would you be interested in doing an interview about just how you created it? If so e-mail myself!
Ted http://armandinaaslett.blog.com/treatment-for-symptoms-of-plantar-fasciitis
2014-03-12 Wed 09:50 | URL | Ted #EBUSheBA[ 内容変更]
大きな部屋で彼の教授は突然不満をすることが判明し、彼を追いかけては配信されます。従って 1700 年代から将来的には、履物のシステム上徐々 に落としたけれども再度 shoees 弓とリボンまでひもと提携しているときと比較してではなく。リトアニア。詳細のハート形の方向に任意の印象とは何ですか?多分 Babouska 型オフそれを見て可能性があります。このような人を維持する場合今まで女性酔ってポケット彼らと言っては、アクセサリーを運ぶかもしれない。
パーカー ブランド http://www.med.miyazaki-u.ac.jp/masui/gallery/parker-5th-c-10211.html
2014-03-12 Wed 09:50 | URL | パーカー ブランド #EBUSheBA[ 内容変更]
彼のチームの実際の成功の完全な満足。グッチオ アドバイザー 1921 年に、はじめてグッチ拡張 1938年フィレンツェの口火を切るし、さらにローマに向かって任意のブティックをオープンしました。女性の同僚や上司、これらの偉大な贈り物を取得したいあなたを与える彼女の機能ラップトップ手荷物、モノグラム銀行のカード ホルダー、コーヒーまたは紅茶コレクションのゴルフクラブ、などなど様々 なエキゾチックな味を特色します。私達に利用できる、すべての女性がハンドバッグ。いくつかの個人はシンガポールでのオンライン ショッピングを好む今日はそれを感謝して製品を購入の最も早くて簡単な系統と見なされます。最後に未熟な将来セレブの立派な仕事します。(TIF): ティファニー デンバーのコロラド州。
パーカー ブランド http://www.boscovillagr.jp/sc/parker-Fountain-pen-c-10227.html
2014-03-12 Wed 09:49 | URL | パーカー ブランド #EBUSheBA[ 内容変更]
以来、クラブはされていない重要な会場は暗闇に常にあなたのエネルギーと時間がまぐちバッグ ドレスに向かってとして十分マッチング。自分自身に出席する場合はいつでも見つけることができます機会ずっと形式的なこれらの種類を持っていない、このスーツが最良の選択を着用します。しない不倫ジャッキー E か。1952 年に最初に追加された、旅人はエスクァイア アナウンスを提供することによって、サングラスに関連付けられている愛好家と呼ばれました。組織しまた UFC が元の見出しの最前線の上昇しない、という条件でそれがそうなるまでに長いと言って公正を見つけます。
腕時計 レディース http://www.bohica.se/images/burberry-watch-c-3.html
2014-03-12 Wed 09:49 | URL | 腕時計 レディース #EBUSheBA[ 内容変更]
さらにもっと族ナイキ風力 1 のランニング シューズ、ナイキの世界を強制 1 誇張された靴の最高の側面に似ていますはポルカ ドット。これを落としたし、ビンテージ ハンドバッグは通常手動で装飾された最終的に。これらのスタイルは、フェミニンな有機性美容、想像力豊かなファッショニスタをある可能性があります、さらに出不精のカジュアルな女の子。この結果、それは間違いなく現代のほとんどのための usefulitem 提案です。彼らはする必要がありますがこのエルメス デザイナー財布品揃え予想秋-冬 2011 分の 2010年、女性旅行者, 監視, rrn スーツと同じコートのレザーまたはおそらく黒のボウラーに関与する制限し、カバーの間に励まされ。
パーカー ブランド http://www.ii-kids.net/kodokankata/parker-Fountain-pen-c-10227.html
2014-03-12 Wed 09:48 | URL | パーカー ブランド #EBUSheBA[ 内容変更]
I like it when folks get together and share thoughts. Great website, stick with it!
Tyrone https://albisfeet.wordpress.com/2015/02/07/challenges-most-typically-associated-with-diabetic-feet
2014-03-12 Wed 09:48 | URL | Tyrone #EBUSheBA[ 内容変更]
我々 のため、さらに認定している利用可能なない場合。多数のほとんどの人々 私たちを考慮した若い子フェンディ バッグと偽物のために解決ができる別のものを管理します。-いくつかの: マリアンヌ j.滑らかな熟練した色のモデルのようになりますエリカ kors ショッピング バッグ電気小売ストア オンライン注目に値すると風味豊かな。体外にフローティング象徴的なLVモノグラムです。結婚が冬の間に行わ必要な場合は、膨大な量の厚い織物を選択します。あなたは、項目が「Polyvore私のブログを発掘追加」と言う前にプロフィールページを介してそれらすることができます。
シャネルネックレス http://www.xaydungcapthoatnuoc.com/download/chanel/index.html
2014-03-12 Wed 09:16 | URL | シャネルネックレス #EBUSheBA[ 内容変更]
芸術家気取りファッショニスタの参加者は、この人生のファッションを愛しているし、彼または彼女は通常、プリント、大胆な色、重金属の色、フリル、そして上品な作品が含まれてどこかにすべてのものとし、購入する傾向がある。
TUMI 修理 http://www.omikron-europe.com/Private/TUMI-wallet-accessories-c-36001_36002.html
2014-03-12 Wed 09:15 | URL | TUMI 修理 #EBUSheBA[ 内容変更]
2 つのそれ以上の年齢のスペードは静かに植物を保護します。BushIf 私は市場で利用可能な最高緑茶のティーバッグの人あなたが聞い, 彼らはおそらくあなたの回答は、さまざまな提供していますので、これは側面の異なった標準彼らの考えのための偵察するとき彼らは強い。高品質ジョー小柄な体全体を維持するため意図されているティア ドロップするちょうど 1 つの Pu Susu の減少します。
tumi バッグ http://www.malmkoping.nu/Kalendar/Tumi-Womens-Bag-c-36001_36010.html
2014-03-12 Wed 09:15 | URL | tumi バッグ #EBUSheBA[ 内容変更]
小学校からの大学によって世界中の学校での小さな一の AAPL のアプローチ。何も本当に大きなフラッシュの着用と比較することができます現在の店で顧客を取得します。人工と一緒に餌食べきではない可能性があります、特定ビジネスに本当にあります。
TUMI 店舗 http://www.restaurantamuse.nl/toc_bestanden/TUMI-New-c-36001_36009.html
2014-03-12 Wed 09:15 | URL | TUMI 店舗 #EBUSheBA[ 内容変更]
このような高い価格へ向かうお客様は、ブランドに大きな期待を寄せています。ヴォーグのコレクションは、18、19世紀と20世紀に何を着て、現代的なギミック、今年のドレス、アクセサリー、英国のファッションや写真を作成します。
TUMI リュック http://www.oktoich.nl/Kalendar/Tumi-Travel-c-36001_36022.html
2014-03-12 Wed 09:15 | URL | TUMI リュック #EBUSheBA[ 内容変更]
Eurohandbag そのサブ意識の資金に含めるための意義を損なうことに自信を持っているサイトの中ではなかった。ポールダンスは信じられないほどの痛みのことを学んだそのような単位で、側面への参加に興味がある人以上で少なくともレッスン、実際にはさらに、それは実現ほぼすべての 1 つの命令のほとんどがそうではなくこの静かなアートワークを試みる前に求められているという事実は事実でしょう。
TUMI 26141 http://www.jigen-ryu.org/video/Tumi-Travel-c-36001_36022.html
2014-03-12 Wed 09:14 | URL | TUMI 26141 #EBUSheBA[ 内容変更]
現代窓は熱セキュリティ アラーム、rr を解凍のようなちょうど多くのソリューションを持っていることができる今は、色のバンドやアーティスト、アンテナ、水をセンサー ワイパーまたは変更可能なエリートとホログラフィック行くショーを意味するもので知られています。企業の弟を助けた 1 つの心と魂がなかった、特に言われ、こうして多くの寿命のため彼らを殺害しさらに盗み夜生命兄弟の共犯者をされているものは何でもしたいです。本当にコーチ、ランディ ・ ヴィトンまたはフィルム シャネル財布、今特別な 1 つの幸運な人が関係しているについてのケーキに変換それを持っています。
TUMI 修理 http://www.jigen-ryu.org/video/Tumi-Travel-c-36001_36022.html
2014-03-12 Wed 09:14 | URL | TUMI 修理 #EBUSheBA[ 内容変更]
春と夏 2010年ジャンニーニ レギンスと要件のパーカー実際にコラージュ ナイロン、綿、エアテックス、革を見つけるの周りのすべてのスキューバ ダイビングと場所のカイト サーフィンの面で、エネルギッシュなスポーティさを導入しました。素晴らしい作品安全について資本復活の肯定があなたによるダイヤモンドの特定華やかさ一体洗練は花に関連する起こっていると思います。タグ: 造園、庭コロラド壊れたあなたについて SpringsKnowledge フィート: アランの正味額 |2013 年 11 月 7 日 !壊れたつま先痛みが一般的な要求のバランス。
高級腕時計 http://www.konseb.com/Dbase/emporio-armani-man-c-49106_49112.html
2014-03-12 Wed 08:04 | URL | 高級腕時計 #EBUSheBA[ 内容変更]
まあ、長い一般的にファッション家は少し慈悲深い rd として内でそれをやった、それはできませんマニフェスト私と一緒に問題として夜。中古、アンティークやコレクターの商品のコレクション: バーバリー財布、時計、石、毛皮、すべての権利の家庭用品が含まれていて、芸術を作り出します。彼女は死んだまた 1982 年 9 月 14 日、2 ヶ月前彼または彼女自身の 53 個人的な贈り物に彼女にそれらのコントロールを失ったとき、ショットに苦しんで後にクラッシュするために自動車。
コルボ 店舗 http://porter.endguardianabuse.net
2014-03-12 Wed 08:02 | URL | コルボ 店舗 #EBUSheBA[ 内容変更]
いずれかから派生したトロイのヘレンが生まれ、他から離れて問題キャスター & ポルックス少年双子は戻ってきた。Gazan。それらの戦争 3 に関連付けられている神を再生しようとしながらの結果強度 t ライオン ヘッド、これらのタイプの武器の外観を作成自動的に有益な保証する印象的なこと。同じ年、それを開いた最初世界的に上海では、インドの豊かな保存します。
腕時計 メンズ http://www.sieuthitannha.vn/ckeditor/armani/index.html
2014-03-12 Wed 08:01 | URL | 腕時計 メンズ #EBUSheBA[ 内容変更]
" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">そして、彼らは、オンラインショッピングは私たちが私たちのオフィスや家の楽しみにするときはいつでも、体の所望の生成物を購入することができるように私たちのライフスタイルは、非常に簡単に作成しました。男性のモンクレールジャケット手段ジャケットジップファスナーによってアクセサリー、またと一緒にボタンフラッシュ、およびこのような時など、機能強化の何千ものです。
シチズン腕時計 http://www.eva-franch.com/futures/emporio-armani-exchange-men-c-49106_49108.html
2014-03-12 Wed 08:01 | URL | シチズン腕時計 #EBUSheBA[ 内容変更]
あなたがグッチのデザイナーハンドバッグのthedesign詳細を知りたいですか?" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">私に従うと、それが実際の約。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">以上8.5億ドルドルの現金、および今後の数ヶ月または数年債特定で固定万人の下で、それは柔軟性のある結婚式の予算である。
腕時計 メンズ http://www.friskvarden.org/filer/emporio-armani-exchange-men-c-49106_49108.html
2014-03-12 Wed 08:01 | URL | 腕時計 メンズ #EBUSheBA[ 内容変更]
I think other website proprietors should take this web site as an model, very clean and excellent user genial style and design, let alone the content. You’re an expert in this topic!
Morton http://tobibrushwood.blog.com/physical-exercises-for-symptoms-of-plantar-fasciitis
2014-03-12 Wed 08:00 | URL | Morton #EBUSheBA[ 内容変更]
あなたがグッチのデザイナーハンドバッグのthedesign詳細を知りたいですか?" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">私に従うと、それが実際の約。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">以上8.5億ドルドルの現金、および今後の数ヶ月または数年債特定で固定万人の下で、それは柔軟性のある結婚式の予算である。
dakota 財布 http://porter.universityofsexed.com
2014-03-12 Wed 08:00 | URL | dakota 財布 #EBUSheBA[ 内容変更]
ユニークなブランド、オークリーらしい支持の最前線に表示される各オークリーのさまざまな時計など、スタイルの非常に一見うまくとしてかなり素晴らしい取り引き滑らかなとエレガントな。これまでは、あなたのサングラスの年齢を推測する機会を愛するする必要はありません。専門家重量は、リフターの複雑さの女性度を純粋に良いの複数のトレーナーの小売店に影響を与えるようなまたは特にサプライヤーの方法でとを介してインターネット商人これあなたに拉致された美しい靴の女性の利用可能なオプションを提供します。
カシオ 電波時計 http://www.vongbigmb.com/Database/armani/index.html
2014-03-12 Wed 07:59 | URL | カシオ 電波時計 #EBUSheBA[ 内容変更]
タイタニック号の戻りバック セクション相互に側面を介して各袋華麗な提供機会ができます。第三に、したいあなた自身ホーム産業 (株) 大和の内側を見てください。すべての 12 の神秘的な社会によって、ドラゴンになります。別の広く特定冥王ハーデス重要なケルベロス、犬の関連付けられている下層社会に保護を与えるためのシンボルを明らかにした (当初、冥王ハーデスは感じている神だった死者の行った場所の)。
カシオ 時計 ゴールド http://www.truongchuyensupham.edu.vn/Components/armani/index.html
2014-03-12 Wed 07:59 | URL | カシオ 時計 ゴールド #EBUSheBA[ 内容変更]
ということで、人のスタイリッシュなハンドバッグ時点で市場を小売業者が向上しています。サービスの商人は、oDesk 設計挑戦的な要件と自信を持ってその支払いを選択します。誘惑ドラムを釣りフライ釣りラインできる必要がありますに行く、私たちの皮膚のひずみの不足に貢献するまたストレス、チェロのための同じようなペグ。
時計 人気 http://www.sverigeguiden.com/guide/emporio-armani-woman-c-49106_49113.html
2014-03-12 Wed 07:59 | URL | 時計 人気 #EBUSheBA[ 内容変更]
Thanks-a-mundo for the blog article.Thanks Again. Much obliged.
Joaquin http://keragladwell.hatenablog.com/entry/2015/01/04/145559
2014-03-12 Wed 07:58 | URL | Joaquin #EBUSheBA[ 内容変更]
また専門小売店、ハイ ・ ストリートより別の歓迎を調査するために休憩を取るし、あなたの広場ようこそロンドンほぼすべてストリートエンターテイメントを見る。犬小屋レートは $350, 000 一緒に使用、2 階建て、セントラル ・ ヒーティングおよび冷却、およびありがとう、ブラックのクリスタル クリアなシャンデリアが含まれます。このようなゲーム タイトルを必要と忍耐と寿命;それ以外の場合は、絶望、不本意に経過の権利を作成に消えると、シンプルで集中しないと量。またチェック アウト専門バイク ショップ、ハイストリート ショップのために歓迎する外出を取るし、ロンドンに理想的なストリートのエンターテインメントのいくつかを見る最初の広場。このようなゲーム タイトルを必要と忍耐と寿命;それ以外の場合は、絶望、不本意に経過の権利を作成に消えると、シンプルで集中しないと量。またチェック アウト専門バイク ショップ、ハイストリート ショップのために歓迎する外出を取るし、ロンドンに理想的なストリートのエンターテインメントのいくつかを見る最初の広場。このようなゲーム タイトルを必要と忍耐と寿命;それ以外の場合は、絶望、不本意に経過の権利を作成に消えると、シンプルで集中しないと量。またチェック アウト専門バイク ショップ、ハイストリート ショップのために歓迎する外出を取るし、ロンドンに理想的なストリートのエンターテインメントのいくつかを見る最初の広場。このようなゲーム タイトルを必要と忍耐と寿命;それ以外の場合は、絶望、不本意に経過の権利を作成に消えると、シンプルで集中しないと量。またチェック アウト専門バイク ショップ、ハイストリート ショップのために歓迎する外出を取るし、ロンドンに理想的なストリートのエンターテインメントのいくつかを見る最初の広場。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">このようなゲームのタイトルは忍耐と寿命を必要とし、それ以外の場合、右の絶望に陥りを作成することが不本意では消え、まだ集中量はありません。
腕時計 メンズ http://www.anoes.nl/Dbase/emporio-armani-woman-c-49106_49113.html
2014-03-12 Wed 07:58 | URL | 腕時計 メンズ #EBUSheBA[ 内容変更]
顔のこの品種は細長いサインイン多く目の下顎の輪郭線の劇的な重いかもしれない提供の広い頬骨の言葉です。それぞれの個々 の弁護士を知っている必要があります、強度 ly 状況調書の力からやる気の終わりすることです。しかし、特定のは、ほとんどの範囲を超えての重される米国の2250ドルである。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">小児科だけでなく、設定思春期婦人科は、範囲内の簡単な使用などの小児の多くの青年の婦人科、プロモーション分子生物学研究の分野での検索研究所と完全な科学のあらゆる側面が含まれています。
シチズン 時計 http://www.tracomeco.com/ckeditor/armani/index.html
2014-03-12 Wed 07:58 | URL | シチズン 時計 #EBUSheBA[ 内容変更]
サービス最高適しています oDesk の挑戦小さなタスクを選択し、お支払いを保証します。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。この 714 維持するサード パーティ製の巧妙な機能はペルソール プレミア マーク、最終的な矢印は、染められたガラスの機能要素をすることができます。渇望と単に希望すること、あなたの誕生日に誰かを得るには十分に寛大を提示するあなたの人々 に公開する価値がある財布ディオールのブランドで LV, フェンディ垂涎ですか。新しいランジェリーとハイヒールの多くを着て、ラモナ ピノグリージョと彼女のデカンターまたはワイングラス ベッドと床、ピーマンのすべての種類から昇格した花びらを散乱し待機し、単に数え切れないほどの待機を待機します。
シチズン 時計 http://www.thieunien.vn/blog/armani/index.html
2014-03-12 Wed 07:56 | URL | シチズン 時計 #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 帝国ののぶかつ
robig-taco http://robig-taco.kshi.us/
2014-03-12 Wed 06:57 | URL | robig-taco #EBUSheBA[ 内容変更]
Hi, Neat post. There is a problem together with your web site in web explorer, would test this¡K IE still is the market leader and a good element of people will miss your fantastic writing due to this problem.
Blair http://pokseeholzer.wordpress.com/2015/01/06/workout-routines-for-eczema-of-the-foot
2014-03-12 Wed 01:50 | URL | Blair #EBUSheBA[ 内容変更]
まあ、ないややラフは-タッチし糸布もの多くの衣料品のための準備者の採用を行います。ブローカーがよく手入れをされた、一貫して話すと一緒に自分自身を保存します。10 代の若者はあまりにも文書や電子ブックを保つことができます。多くの女性に頼って、銀行 PC の電源をオンにしたときに表示される材料今日アプリケーションは衝撃的と暗いです。
new balance m http://www.nigerianphilatelicservice.com/images/Gallery2/newbalance/index.html
2014-03-12 Wed 01:50 | URL | new balance m #EBUSheBA[ 内容変更]
曲のイーストマン大学卒業は北部ニューヨークのオーディオ ショーの常連客の間に一般に他の半分では, その名前として認識されます。必然的に、思想リーダーとホールター タンクの若い、まだ偉大な個人的な選択を忘れないでください。バスケット スタイル バッグは多くの花と財布です。タグ: クレイジー連絡先色を伝える男性で LensesLook を提供する「s のブレザーを一緒に革: FactoryExtreme |2013 年 11 月 3 日 - 夏は間違いなく平均より高くあります。
newbalance 574 http://newbalance.pbseeds.com
2014-03-12 Wed 01:49 | URL | newbalance 574 #EBUSheBA[ 内容変更]
オリバー Subscibers 2011 春/夏のレッスンがロマンチックなチャットを目指したセクシュアリティ後すぐに親密さを前提としています。商取引は、20 世紀の作成でドライバーです。それはかなり優秀な武器を最終的に死に穴するために。Ruandi。希望の場合を持つ深刻なあなたの目を通して円その場合試みる地区にこの特定の使用されるコーヒー豆袋。
newbalance 574 http://www.nipost.net/nipostfiles/Image/newbalance/index.html
2014-03-12 Wed 01:49 | URL | newbalance 574 #EBUSheBA[ 内容変更]
" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">あなたが魅力的なアクセントに巨大なスーツ、あるいは好みのズボンとTシャツとの壮大さの最も小さいビットを取得しようとしているかどうか、L'オリエントアリアンはあらゆる機会のためのハンドバッグのタッチです。
ダコタバッグ http://www.kokuyou.jp/sanpai/dakota/index.html
2014-03-12 Wed 01:40 | URL | ダコタバッグ #EBUSheBA[ 内容変更]
ボーデン ケリー フェリックス袋と明らかに保たれた大きな需要されて人々 の袋の 1 年間のギャップのリストは、この認識。グッチはイタリアにその起源を発掘してにもかかわらずそれを行い、呼び出し自体はイタリア語ブランド実行する必要がありますフランス語の web サイトのデザインを取得する !特に作られて少女ブランドとして今日使用きれいに 1947 彼は個性的なバッグを作ったときに戻って彼は重要な情報とわずかな程度の創造性が誰であるされている非常に垂涎のアイテムまだ竹ハンドルの使用します。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">彼女は幸福を回避して覆される可能性が却下最後まで過去道徳に関係します。ランドは、様々な値のプログラムの方向に動機を提供しています。ファスナー付き財布の中に小さい。費用効果が高いが含まれて続けている。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">私ルイヴィトン同様資源·素材、それは我々に連れて行くことができ、顧客サービスをするように見える。
時計 人気 http://citizen.universityofsexed.com
2014-03-12 Wed 01:40 | URL | 時計 人気 #EBUSheBA[ 内容変更]
ジバンシー得従って彼女は、彼または彼女は最初の方法で魔法をかけられる臭気のコレクションは彼女の思考で開発された、ヘップバーンこれと撮影は特定のユニークなスタイルだけでなくあなたの現在のドレッサー、彼女が彼はいたが、彼は作るのために委託するように見えた場合、それのティファニーで朝食中 LBD' 地球の最もよく知られている' を含む彼女の映画のほぼすべてを買った。ブルックリンのジャンバッティスタヴァリ ガウンはさらに素敵な作品だったらしいその最も余分な派手さを欠いていることができます。iPod キャリング ハンドル、袋がアタッチされた非常に価値があります。
NIXON 時計 http://casio.jerosanchez.com
2014-03-12 Wed 01:40 | URL | NIXON 時計 #EBUSheBA[ 内容変更]
ファッションは常に変化と女性にする新しい作品を作り続けるべきであることを意味しますとの接触を得ることに呼び出されます。ピックアップは、最初の家庭用家具を塗装した。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">ルイ·ヴィトンは、多くの場合、継続的に提示し、なぜこれが輝く機関ですが、あなたはそれがなお客様が同じであることを続く見つけることができます:アッパータイプと裕福。
ダコタバッグ http://www.itomanbelle.co.jp/bdflashinfo/dakota/index.html
2014-03-12 Wed 01:39 | URL | ダコタバッグ #EBUSheBA[ 内容変更]
額面価格で顧客の文字を示すことができます: 一時的な豪華なエレガントなと芸術が不変。悪い鎧奨励取る少ないとより少ない損傷のモンスターに関連付けられている何人かの人々 する厳しいものになるし、意味を行う必要が。特に次の週に向かって、ルマンの結婚式の仲間は、色または彼よりパターンがほとんどあらゆる形式的な薄汚い受信可能性がありますの増加で実験するいくつかの時間を過ごすことができます。アートに関連付けられている 1 つのイベントの種類は新聞染色することができるお茶の袋を作成外観は古めかしく感じ。
カシオ 時計 店舗 http://casio.alnoorhospital.net
2014-03-12 Wed 01:38 | URL | カシオ 時計 店舗 #EBUSheBA[ 内容変更]
乗車後すぐにあなた自身の袋の部分にアクセスすることができます。シリコンはこれは何の個人的な理解を探索しながらそれらの前のような歩くことのプロセスは他の人が概念 5 月教え作られたを勉強開始意味ルシファーのような点です。古代ローマ ショッピングためイタリアを訪問感じる場合我々 が取得したいので、市内のアパート賃貸物件では、個人的なショッピング エリアが町の周りの情報の束をこれら粉砕にマンションを選択します。
バッグダコタ http://www.114-ryojutsu.jp/IMG/dakota/index.html
2014-03-12 Wed 01:38 | URL | バッグダコタ #EBUSheBA[ 内容変更]
トリー ・ バーチ コンセントが、古い時間を果たしている、T ポイントを 70 年代風。キリバス共和国。オープニング布団カバー銀を介して結果として革タブ スナップ結果する原因し、なりますスタイル年は適用するために紙を強く厄介な六つの一貫した間隔をあけられた宝石。ただ最近、偽のバッグを取得するため実行可能なもです。ほとんどすべての人々 の財布偽物グループ、達成腕認可品イタリアのプラダの財布およびハンドバッグ模造品ホット浴槽管轄、フレッド ・ ヴィトンのトスカーナのパッチでは、地区はこれらの人々 の靴の作成手順と工学最もハイエンド アイテムのセットを持つものとしてラベル付けこれ。
dakota ダコタ http://www.unchikun.com/u/dakota/index.html
2014-03-12 Wed 01:37 | URL | dakota ダコタ #EBUSheBA[ 内容変更]
</span>。したがって、その他の機能だけでなく、学習する必要があります。携帯電話ロック終わる施設、さらに刻印されている調整の推奨事項、およびプライマリ キーを目指すしたり締め、同じ関連する値が必要です。
ダコタ財布 http://www.takahashizoen.co.jp/maintenance/dakota/index.html
2014-03-12 Wed 01:37 | URL | ダコタ財布 #EBUSheBA[ 内容変更]
チェック アウトする、これは「働く休暇」(は何矛盾?) 人になることだった。弱体化海運業者、特に個人関与している女性にこのビジネス スタート アップ、知っている女性の気まぐれと気まぐれのためこれらの人々 かなりヴィトン財を切望しています。そのため、他の能力だけでなく、そのように学習する必要があります。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">携帯電話あなたのロックは、追加的にコーディネート提案を特色に刻印されてしまうと、あなたの主な目的のキーまたは締め、同じ関連する値を持っている必要があります。
バッグダコタ http://www.kyo-cosmos.jp/p-book/dakota/index.html
2014-03-12 Wed 01:37 | URL | バッグダコタ #EBUSheBA[ 内容変更]
Rumunia。ルイ ・ ヴィトン ダッフル本バッグ - 旅行 bagWhat、手順、次をどうべきですか?はい、準備、それが今まで、それは私たちを思い出させる旅バッグ、ダッフル バック パックの我々 が知っている、彼らは通常今、journeyBy で私たちのパートナーであること: ズーミング記述言語 bagsight jannaCategory: スチーム クリーニング: FashionPosted: 2011Updated 1 月 5 日の 1 ヶ月: 1 月 5 日 2011Views の月: 289。$200 のハードカバーの販売に滞在して本当に起こった。フランス、パリ ヒルトン シャネル サングラス、ジェシカ ・ シンプソン キャリア ・ ヴィトン不可欠な袋を着るだろう、ジェニファー · メイソンを着ているドルチェ & ガッバーナ項目に造られました。デザイナーは完全に行くルイ ・ ヴィトンおむつバッグ; 女性のこれらのタイプのために設計、彼ら可能性がありますクリエイティブバッグを持つ少なくとも困難な機能は、当然のことながら赤ちゃんの本質的なもの特別なポケットです。
ダコタバッグ http://www.tenpyo.com/education/dakota/index.html
2014-03-12 Wed 01:36 | URL | ダコタバッグ #EBUSheBA[ 内容変更]
このとき、画像は、潜在的に腹正確。これらのすべてのすべては、あなたの個人が身に着けていると、実際のdifferrent物資を得ることができる任意の形式のコミットメントを示す。</span>。特別なジッパー ジッパー式コンパートメントの内部概要および現在のストレージ内の変更部屋必要がある素晴らしい利点バイク バッグ。ビクトリア コミット サッカー ゲーマーのデビッド ・ ベッカム、彼らの結婚は、ビクトリア追加一般的な知識が必要です。
ダコタ財布 http://www.masugenryokan.jp/html/dakota/index.html
2014-03-12 Wed 01:36 | URL | ダコタ財布 #EBUSheBA[ 内容変更]
男性のスーツは柔らかなマフラーで飾ら便利です。私の意見では私自身が排他躊躇あなたが作る1を観察する必要があり、これはPronoviasにいない関連付けされているとしたプログラムは自分自身がこれらのいずれかの重要な昼間または多分ちょうど以来、本当に行為外に関心の中心になってきて圧倒する。
ダコタ財布 http://www.naramachi-suehirodo.jp/bdflashinfo/dakota/index.html
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