のぶかつの部活動 since 1970
Do you know the answer to this riddle?
寿限無、寿限無 五劫の擦り切れ 海砂利水魚の 水行末 雲来末 風来末 食う寝る処に住む処 藪ら柑子の藪柑子 パイポパイポ パイポのシューリンガン シューリンガンのグーリンダイ グーリンダイのポンポコピーのポンポコナーの 長久命の長助

寿限無寿限無ウンコ投げ機一昨日の新ちゃんのパンツ新八の人生
バルムンク=フェザリオン アイザック=シュナイダー三分の一の純情な感情の残った三分の二はさかむけが気になる
感情裏切りは僕の名前を知ってるようで知らないのを僕はしっている留守スルメめだかかずのここえだめめだか・・・
このめだかはさっきとは違う奴だから池ノめだかの方だからラー油ゆうていみやおうきむこうぺぺぺぺぺぺぺぺぺぺぺぺ
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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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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
Fashion and Gender
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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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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ゴスロリファッションとオタクというものが整理しきれなかったので質問させていただきましたどうかよろしくお願い致しますゴスロリの前身として「ナゴムギャル」というジャンルの女の子達が年位前にうようよと出てきました。当時はインディーズブーム。その中でも「ナゴム」と言われるレーベルから出てるバンドのファンの女の子は特有の格好をしており、ミニスカートにニーソックス、長袖シャツにお団子頭といういでたちでした。ナゴムからですと有名どころでは筋肉少女帯などが出ております。(筋少の大槻ケンジ氏はいまだにゴスロリギャルから人気ですね)
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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.
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).
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).
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.
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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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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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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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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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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.
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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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).
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.
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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.
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.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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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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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.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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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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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.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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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のぶかつの部活動 since 1970 寿限無、寿限無五劫の擦り切れ海砂利水魚の水行末 雲来末 風来末食う寝る処に住む処藪ら柑子の藪柑子パイポパイポ パイポのシューリンガンシューリンガンのグーリンダイグーリンダイのポンポコピーのポンポコナーの長久命の長助
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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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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すっかり暖かくなり、春のオシャレを楽しんでいるところかと思いますが、その中で今年よく聞かれる「バイカラー」、「カラーブロック」というファッショントレンド用語があります。これらの意味、皆さんご存知でしょうか?
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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.
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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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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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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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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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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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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).
のぶかつの部活動 since 1970 寿限無、寿限無五劫の擦り切れ海砂利水魚の水行末 雲来末 風来末食う寝る処に住む処藪ら柑子の藪柑子パイポパイポ パイポのシューリンガンシューリンガンのグーリンダイグーリンダイのポンポコピーのポンポコナーの長久命の長助
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のぶかつの部活動 since 1970 寿限無、寿限無五劫の擦り切れ海砂利水魚の水行末 雲来末 風来末食う寝る処に住む処藪ら柑子の藪柑子パイポパイポ パイポのシューリンガンシューリンガンのグーリンダイグーリンダイのポンポコピーのポンポコナーの長久命の長助
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のぶかつの部活動 since 1970 寿限無、寿限無五劫の擦り切れ海砂利水魚の水行末 雲来末 風来末食う寝る処に住む処藪ら柑子の藪柑子パイポパイポ パイポのシューリンガンシューリンガンのグーリンダイグーリンダイのポンポコピーのポンポコナーの長久命の長助
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のぶかつの部活動 since 1970 寿限無、寿限無五劫の擦り切れ海砂利水魚の水行末 雲来末 風来末食う寝る処に住む処藪ら柑子の藪柑子パイポパイポ パイポのシューリンガンシューリンガンのグーリンダイグーリンダイのポンポコピーのポンポコナーの長久命の長助
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のぶかつの部活動 since 1970 寿限無、寿限無五劫の擦り切れ海砂利水魚の水行末 雲来末 風来末食う寝る処に住む処藪ら柑子の藪柑子パイポパイポ パイポのシューリンガンシューリンガンのグーリンダイグーリンダイのポンポコピーのポンポコナーの長久命の長助
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のぶかつの部活動 since 1970 寿限無、寿限無五劫の擦り切れ海砂利水魚の水行末 雲来末 風来末食う寝る処に住む処藪ら柑子の藪柑子パイポパイポ パイポのシューリンガンシューリンガンのグーリンダイグーリンダイのポンポコピーのポンポコナーの長久命の長助
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のぶかつの部活動 since 1970 寿限無、寿限無五劫の擦り切れ海砂利水魚の水行末 雲来末 風来末食う寝る処に住む処藪ら柑子の藪柑子パイポパイポ パイポのシューリンガンシューリンガンのグーリンダイグーリンダイのポンポコピーのポンポコナーの長久命の長助
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のぶかつの部活動 since 1970 寿限無、寿限無五劫の擦り切れ海砂利水魚の水行末 雲来末 風来末食う寝る処に住む処藪ら柑子の藪柑子パイポパイポ パイポのシューリンガンシューリンガンのグーリンダイグーリンダイのポンポコピーのポンポコナーの長久命の長助
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のぶかつの部活動 since 1970 寿限無、寿限無五劫の擦り切れ海砂利水魚の水行末 雲来末 風来末食う寝る処に住む処藪ら柑子の藪柑子パイポパイポ パイポのシューリンガンシューリンガンのグーリンダイグーリンダイのポンポコピーのポンポコナーの長久命の長助
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のぶかつの部活動 since 1970 寿限無、寿限無五劫の擦り切れ海砂利水魚の水行末 雲来末 風来末食う寝る処に住む処藪ら柑子の藪柑子パイポパイポ パイポのシューリンガンシューリンガンのグーリンダイグーリンダイのポンポコピーのポンポコナーの長久命の長助
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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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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.
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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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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.
The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
Fashion and Gender
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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 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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Fashion and Gender
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
Fashion 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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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2014-04-03 Thu 16:38 | URL | ・」・ネ・ ・タ・゚・ィ #EBUSheBA[ 内容変更]
、、、ッ、ト、ォワソミg、ホムuイトキNイソホンクミ、ク、ネメサセw、ヒ、ケ、?リメェ、ャ、「、?ロヨヤオト、ハ、タ、ア、ヌ、ハ、ッソン、ャ、ス、?筅ャイサソノヌキ、ハネォハメ Dcor アマホ 1 、ト、ヒ、隍?ネ。」、「、ハ、ソ、ホ、、、ア、ハ、、ヤOモ共ケ、?ウ、ネ、ァヤョ、ケ、?ソ、皃ヒトソ、」ウヨ、キ、ニ、、、?マ。「、ス、?マ。「、゙、タフ鬢キ、゙、ケ、「、ハ、ソ、ホシメ、ホノマ、ヒアレス}、ネラー?、侃ト、ア、?」、「、ハ、ソ、マ。「・ケ・ソ・、・?「ヒリイト、ヌ。「゚x談ヨォ、ヒ騅゚B、ケ、?愠テ・ネ、ヌ、「、遙「、ロ、ネ、ノ、ホワソミg、マ。「ハミ因、ヌタ﨧テソノトワ、ハ・ン・ケ・ソゥ`、モラキ、゙、ケ。」DCOR、ヒケ、ッ、ウ、ネ、ヒ、ケ、?ォ。「・?モ・ー・?`・爨ニ、?ノトワミヤ、ャ、「、?ウ、ネ、ォノト、ヒア」、チ。「?ケ遧ト、ハアレ、x談、ケ、?ウ、ネ、ホヨリメェミヤ、マ。「?ケ遧ト、ハイソキヨ、ャ、ォ、ハ、?ァ?、ヌ、「、?」
・?、・」・ネ・ http://www.net-zeit.ch/files/Download/Louis-Vuitton-Wallet-c-8016.html
2014-04-03 Thu 16:38 | URL | ・?、・」・ネ・ #EBUSheBA[ 内容変更]
乕サュ、キ、ソ・ソ・、・ネ・?ホハ?ヘヒ、テミミ、ケ、?マ、ヒフリ、ヒ、隍?ミ?、ヌ、「、熙゙、ケ。」、゙、タツテミミ、キ、ニ、、、? 因コマ、ス、?マ瓶。ゥ ムァチ弗ヌ提モテ、ケ、?}?、ヌセ琿x、ヌ、ウ、?鬢ホ・ェ・ラ・キ・逾ホ・ケ・?テ・ラ、テ、ッ、ウ、ネネンメラ、ヌ、ケ。」・オゥ`・ル・鬣ケレ、ヘマゥ`・ヌ・ケ、ホ託ソレ、リ、テ、ニ、、、?ウ、ネ、_ユJ、ケ、?ソ、皃ヒ・ヲ・ゥ・テ・チ・ノ・テ・ー、マアセオア、ヒ、タ、テ、ソ、キ。「、箏テ、?ウ、ネ、ャ、ヌ、ュ、?「、ス、?ホメ箙スマリワ槎スクトヤ?ソレ - ヤル、モスKチヒ、ケ、?間彫ネ・ア・?ル・愠ケ、ャ・皈、・」オレカ?、ヒ。「・セゥ`・、、ヒ騅、ケ、?}?、オ、ホ、「、?フカネ。」、ス、ホラヤシコ、ホキヌウ」、ヒ、隍、ナョミヤ。」
・?ケ・ンゥ`・ネ・オ・テ・ッ ・「・ヲ・ネ・?テ・ネ http://www.biberegg.ch/editor/scripts/LeSportsac-Tote-Bag-c-5107.html
・?、 ? ・」・ネ・ ・ヨ・ニ・」・テ・ッ、ホ、隍ヲ、ハマ」ヘ訷簽?ィ、?ノトワミヤ、ャ、「、熙゙、ケ、゙、ソ、マ。「サト周、キ。「アヒナョ、ャ、「、ハ、ソ、ホトソ侏、_ウノ、ケ、?ソ、皃ヒス~ヘ訷ホ因コマモ゙、ォ、ハ・ス・?蟀`・キ・逾ノトワミヤ、ャ、「、熙゙、ケ、「、ハ、ソラヤノ惕ホ?ネヒオト、ヒ?兎、オ、サ、 1 、ト、ホオヘ??ナョ、ホラモ・ヌ・カ・、・ハゥ`、ホリ抜シ、ホスYケ蠇」・ヒ・蟀`・隧`・ッ・モ・ッ・ネ・?「MASヨリメェ嵭トソDOM TODO・キ・ヒ・ユ・」・「・マ・?ウ・ュ・ケ・ソ、「、遙「メサー羞ト、ヒ・ー・鬣ハ・タ、ホオム、筅ソ、鬢ケ。」アヒ、鬢ホアセホ?ホタ晳筍「、ス、キ、ニ、「、ハ、ソ、ホヨワ、熙ホ、ロ、ネ、ノ、ホネヒ。ゥ、ネスU、オ、?ニ、、、?訷ホニI、ネ・?ャ、キ、゙、ケ。」" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">、ス、テ、ッ、?ィ・?皈ケ、ホ・マ・ノ・ミ・テ・ー、マ。「?シΖヒラ釥簗ヨ﨑、ハ?クホケ??、ヒ、、、ッ、ト、ォ、ホ・ィ・?皈ケモミ僂、シ曽、キ。「フリカィ、ホサ睨遉ホ・愠エ。「、ヒ、隍テ、ニメ?、ュニウ、オ、??ャ、ク、隍ヲ、ハマイ、モ、ヒクカハキ、ニ、、、?峵bユ゚、ヌ?ウノ、ケ、?ウ、ネ、ヒ、隍遙「・ヨ・愠テ・ッノマ、ヌフ睫セテ鉎ー、ャクカ、ア、鬢?ニ、、、゙、ケ。」・ー・鬣ハ・タオム、筅ソ、鬢ケ・ヒ・蟀`・隧`・ッ ・モ・ッ・ネ・?「、マメサー网ヒ・モ・ッ・ネ・?「 mas ヨリメェ、ハ dom todo ・キ・ヒ・ユ・」・「・ ・?ウ・ュ・ケ・ソ。」アヒ、鬢ホユ讀ホタ晳筅ネヒ訷マ、「、ハ、ソ、ホヨワ、熙ホスU、ャ、ロ、ネ、ノ、ホネヒ。ゥ ・ィ・ソゥ`・ラ・鬣、・コ、ネ・?ャゥ`、キ、゙、ケ。」、ス、テ、ッ、熙オ、ィ・?皈ケ ・マ・ノ ? ・ミ・テ・ー、ホテ鉎ー、マーkア惕ヒ、隍テ、ニ・ヨ・愠テ・ッ、マ?、ヒ、、、ッ、ト、ォ・ィ・?皈ケ ・ェゥ`・ャ・ヒ・テ・ッ。「ラ釥簗ヨ﨑、ハ?クホケ??、シ曽、キ、ソフリカィ、ホサ睨遉ホ・愠エ、ヒ、隍テ、ニメ?、ュニウ、オ、??ャ、ク、隍ヲ、ハ啝マイ、ネコャ、゙、?ニ、、、?峵bユ゚、ヌ?ウノ、オ、?゙、ケ。」
・?ケ・ンゥ`・ネ・オ・テ・ッ ・?螂テ・ッ http://www.baumbilder.com/shop/img/LeSportsac-Porch-c-5108.html
メホ・ケ・ネ・?テ・ラ、マ、ス、?ヒ、筅ォ、ォ、?鬢コ磧、ケ、?ウ、ネ、ャ、ヌ、ュ、?爭ネ・テ・ラ、テ、?ウ、ネ、ヌ、ケ。」、ホ、゚。「、ウ、ホぇエハ・ミ・ケ・ア・テ・ネ ・ワゥ`・?ホ・、・ケ・ネ・鬣ッ・ソゥ`、ヒ、ハ、熙゙、ケ。」JP 、シ、、クカ、、、ソソユ壥、ヌ・ヌ・カ・、・ハゥ`メ侃ソトソ。「、ス、?ホヨェ、ハユ{ユ訷ホヨミ、ホ、ス、?鬢ナ、ニヘ?ォ、ヒョ畝ハ、?スキィ、ャ、隍ッソユ壥ラ鋗゙・?ヨ・愠 7 、ヒ、隍テ、ニ娉、゙、熙゙、ケ・?ヨ・愠 8 、葷テ、キ、゙、ケ。」ヒス?ネヒ、ホ、ェ壥、ヒネ???、・」・ネ・ホ・マ・ノ・ミ・テ・ー鷹ツヤ・ケ・ニ・ノ ・ー・鬣ケ、ネ?ネヒ、侃ト、ア、?ツ携、ォ、髫n、」ヨケ、ケ、?ヒ沺、Kチヒ、ケ、?リメェ、ャ、「、熙゙、ケ我ノォ、キ、゙、ケ。」・ヒ・ウ・チ・マ精キア、ヒミヲ裵、?ャ。「ネォフ蠏ト、ハヘ簽Qヘ簽Qコホ嗷ト?マ、?ト、筅?\。「、隍ヲ、ヌ、「、熙゙、ケ。」ウ萠釭「ヘ」ヨケ、リ、ホカ猝?、ホ?、?ソタ遧网ャ、「、遙「、「、ハ、ソ、ホ嗜、ホフ?、マ、ス、?鬢ホ 1 、ト、ヌ、ケ。」、ス、キ、ニ。「、「、ハ、ソ、タ?、オ、?ニ、、、?マ。「?ケ遧ト、ハフリ?、ハャFヤレ、マ。「露ス遉ロ、キ、ニ、、、?ウ、ネ、ァ、ヨ、ウ、ネ、ャ、ヌ、ュ、゙、ケ。」
・?ケ・ンゥ`・ネ・オ・テ・ッ ・ミ・テ・ー http://www.betonrossi.it/dbmng/js/LeSportsac-Rucksack-c-5109.html
、ウ、?マ、゙、ソ、「、ハ、ソ、ホ・゚・テ・ッ・ケ ・゙・テ・チ getup ?ネヒネユウ」ハルテ?ヌスYケ蠇」?ホ?ホモ。ヒ「ホ?ホ・マ・ノ・ミ・テ・ー、マテラ、ハラエ腺、ホ、ソ、癸「ミン露、kノ「、キ、ニ、、、゙、ケ。」1 、ト、ホ・ミ・テ・ーーオ?オト、ヒムリ、テ、ニ・ソ・ークカ、ア・ヨ・鬣テ・ッ、ホ・ッ・愠ウ・タ・、・ ?テラ、ハク??ェケ愠ムゥ`・ニ・」ゥ` ・マ・ノ・ミ・テ・ー、ヒ、ハ、熙゙、ケ。」アセホ?ホ・?ヒ、嵭ノ、ケ、?ウ、ポx談・マ・ノ・ミ・テ・ー ・ォ・ミゥ`、ホミ。、オ、ハイシム}タ﨧桐罍」ネヒ、ホ・ッゥ`・?ハ・ネ・?ヌ・」、ハスU徃オト、ハリ抜シ、?i、ウ、?セ、ケハツ携クトノニ携ハゥヌ驤ネ、、、ッ、ト、ォ、ホ・アゥ`・ケ、_ーk、キ、゙、ケ。」スユ、ホ・ムゥ`・ス・ハ・鬣、・コ、オ、?ソモー岺、ワ、ア、?Lセ琿x、ャヘ簽Qヒリヌ遉鬢キ、、トソ、?、ッ。「、ウ、?ヒ、筅ォ、ォ、?鬢コタ遧网ャ・ユ・?ヒスYコマ。「ラ鋕゚ニキル|、ホ、、、ッ、ト、ォ、マラ鋧ヒノ妤゙、?ソハ擘隍?ル、ハ、ッタァ?、ホメサキN、ヌ、ケ。」瓶馮、ォ、ア、ニ。「・ユ・。・テ・キ・逾ャ、「、ハ、ソ、ホトソ、ホミ。、オ、ハオ纜釿瘟荳?オ、?゙、キ、ソ。」・ネ・?ノ、ホカ爨ッ、マ。「壥、゙、ー、?ハチミ、ホ、隍ヲ、ヒアリヒタ、ホスKチヒ。」
・?ケ・ンゥ`・ネ・オ・テ・ッ・マ・?、 http://www.wwbcn-konferenzen.ch/editor/scripts/LeSportsac-Wallet-c-5111.html
2014-04-03 Thu 07:15 | URL | BALENCIAGA ・皈コ #EBUSheBA[ 内容変更]
ハーマンは、人々 の絶妙な刺繍と classier 市場を通じて、実行に存在のテディで知られている 80 年評判中小企業のドイツのブランドが組み込まれています、中程度であるいくつかのファンを魅了する価格。プライム プラダ バッグとまた、偽のプラダ バッグと WhichDenis SmedegaardMany 組織をアイテム自身の liberality および好意の単純な味であります。しばしば我々 ストア内では財布の中で重複を見ています。???人々 の経験:「伝説」テディベアの提案ですか?クマのコレクションの最も重要な必要がありますこの「有名な作業グループ ドア」、最終的な結果世紀古い私たちのドイツの各生産を決定し、、国、テディの心の価値のイギリスのモデルよりも有名なぬいぐるみを取得します。
サングラス レディース http://www.scannova.de/global/js/Rayban-glasses-c-28_35.html
2014-04-03 Thu 04:31 | URL | サングラス レディース #EBUSheBA[ 内容変更]
-1対5パーセント。3パーセント私は-1。4%。人気は広く原料や植物製品に使用する柔らかさを示しており、中国はまだ非常に、年間物価上昇が上昇しても、一方デフレ圧力の世話をしなければならないことを示唆している。より頻繁に10の建設生産の伸び。10からの年3%。2パーセントので、私は10パーセントの状態を超えています。小売利益の上昇は13で継続的に開催された。13だった一方、わずかに見えない予測に3パーセント。
レイバン サングラス 人気 http://www.suchmaschinenoptimierung.li/images/card/OAKLEY-Sunglasses-c-6_12.html
2014-04-03 Thu 04:31 | URL | レイバン サングラス 人気 #EBUSheBA[ 内容変更]
また、店でヨットの発電機のブランドがちょうど名前ちょうど少数ここから選択可能ないくつかの選択肢があることがわかることを選んだ。それはあなたが行うことができるしている自動車が停止して強風の基礎を遅く強風の流れ安全運動に向けて構築されたか、自動ブレーキ機構系で行くが、バッテリーが完全に拘束されであることが判明主な理由の風発電機が停止しています。任意のヨットに素早い取り付けのためにそれは最新のフルチャーターボートタワーキット。
ブルガリ キーケース http://www.kochstudio-seerose.ch/include/1111/BVLGARI-watch-c-801_811.html
2014-04-03 Thu 04:29 | URL | ブルガリ キーケース #EBUSheBA[ 内容変更]
同じ時間枠では、すべての会社を確保し、固体テキスタイルの数の中で製造されたこれらの手の条件内でトートから長寿を必要とします。</span>。ゴドウィン翻訳中 Faivre によってこのガイド必要がありますように見えるヘルメス ・ トリスメギストスの主題を参照してください。私はされて (トートのプロセスを通じて別の顔) 神のメッセンジャーを通して一般にほとんどの化身で自身の大人の人生の旅を考えるとは頻繁に功妙なプラクシス同様に詩人と劇作家ブルーノ ・ ドキュメント、後クロウリーと同様薔薇十字団の中で読書の方法で芸術的なエンブレムのダイビングの審査を経て特に grails から求職者を行うことを見るを行います。
ブルガリ 時計 http://www.beebites.it/VIDEO/img/BVLGARI-Jewelry-Accessories-c-801_802.html
2014-04-03 Thu 04:29 | URL | ブルガリ 時計 #EBUSheBA[ 内容変更]
有名人のような人格しないファッションアイコンは私たちの名前の一部であると/> すべての今日の時代にはこれらの高価なハンドバッグを返済することができますように普通の人々 のあこがれるより多くのお金 LV の名声によって重要な偽のものしようとしているのに本当にルイヴィトンのハンドバッグいつか今日所有している最大のモデルを模倣するアフター マーケットのクラッチ アーロン ・ ヴィトンそこは常にいくつかの障害はこの作品を購入するときに関与します。たっぷりの本当の部分を得ることができます知識/> ドン投げるあなた Unauthentic イ ポイントは以下の価格の切符とグレードこれらの人工モデルが低プロ偉大な悪化を含むレプリカの頂上に多数適切な支出に何ヶ月も非常に有用な機能な主に長い持続する開発されたので品質とデザインを分離その偽のバリエーションとその品質の評価を介してコピー アウト図を使用して本格的な電圧の減少項目/> あなたがしようとする場合単数形の袋を得ること常にオンライン ショップ内で精神的なものを必要があるし、常に考え二重再度それから選択するジョン ・ ヴィトン アウトレット ジョージアの巨大な LV のために行く最速場所片コンセントが本当らしい小売しようと前に商品には低電圧承認される貴重なオプションを保存/>。ティールのつま先上部と光日焼けレッズと弾性、シャネルのこれらの 1 つではなく 2 つの要素を並べ替えるため四半期、ベージュ 1 つ 1 つまたは 2 つの茶色の靴。正方形、赤ワインの周りの頭の靴、1 つの大きい数に見えるベージュとあなたの足のあなたの行を増やします。彼の靴紐内回避より多くのユーモアのほか、することができますも足が付属しを誘発します。とても素敵な親切設計と女性それらから喜びを得る。患者の試みにもかかわらずは他のブランドは決して surp [検閲] ブランドン ・ ヴィトンのルイ ・ ヴィトン 1854年全体的な革が装備されている脂肪を製造するために理解の会社フランスそれは百年以上前に今年を始めたに反して、ビジネスを始めたこれらのカテゴリの製品の非常にオンデマンドでそれらの日に滞在のデザインし、は、通常多くの人々 の間で大流行/> あなたが知っているどのように個人的に個人的に豪華なフィーチャーおよび項目を検索ルイ ・ ヴィトンの大きい項目は常に検索エンジンで紹介されてとどのようにほとんどの人々 の証言 [検閲] として占められた cl だった顕著なハイエンド ルイ ・ ヴィトン バッグ [検閲] もはや po 最もの一つは高級の普及を見つけると、すべての項目のラウンドは惑星/> ブランド女性これらの日は、大半の女性がグッチのバッグの購入を好むことがありますインスタントを生成するも専門家のあなた自身のビジネスのファッションのためのユニークな行動を計画したいし、思いますルイ ・ ヴィトン種類の理由は、ポイント microsoft excel のような項目と常にメーカーは自社製品のような状況が現れていることを確実に/> [検閲] ルイ ・ ヴィトン日時 tionIt は事実、ルイヴィトンのハンドバッグお金エレガンスを象徴することができる 1 つを所有しているし、社会に深刻な状態も表すかもしれない力と高い好みファッションし、トリックを品質ルイ ・ ヴィトン バッグがで使用されて広く観察される西部の部品に位置するため高価なことを証明している間例えば有名人の人格私たちのモニターに構築されたファッションのアイコンがあると/> すべてすべてのそれらの普通これら水増しすることはそれらの人々 を作るハンドバッグ憧れるけど LV 偽のハンドバッグの事実上すべてはブランドンは、ルイヴィトンのリアルモデル バッグを模倣しようとしているに関連付けられているすべての名声を買おうと思っている場合に関与するいくつかの危険が本当に個セット実際に実を見つけることができます、最近ルイヴィトンのハンドバッグ、将来的に所有することにあげるたっぷりの作品の知識/> ドン投げる Unauthentic イ基本に推進しているものは尊敬だけ少ない値と世界クラスのこれらの人工モデル低方向があるし、役に立つと興味深い事実のための月数で悪化されているレプリカではなく支出を含む最後の長い品質に作成されなかったとデザインはどのような正確にされ、本格的な LV アイテム偽ばらつきの健康を分離し、今把握することができます彼らのすべての品質の評価からコピー/> 短い袋を得ることを計画する場合必ず web ストア内で購入可能なものを生産しているし、常に頭の中であなたのオプション ダブルクリック ジョン ・ ヴィトン世界ジョージア、実際にはその最速のために行くオフ LV 作品コンセントが本当に本当に特定の小売業者として場所を購入する前にそれを維持追加、承認された電圧の低減商品を販売する/>。ブラックつま先の制限とベージュ ベージュ四半期どちらかの側としなやかなシャネルのこれらの二重要素の茶色のブーツに関連します。四角い黒の靴のための頭、光日焼け 1 つ見えるより良いと長い距離あなたの足はその行を考慮しました。ライニング彼の靴レースとを避けるためだけもっと面白い、また豊富なことができます足と混雑。だから自信を持って、礼儀正しくデザイン下地女性それらを大切に。ほとんど何を彼らの試みを活用したにもかかわらずブランドはこれまで surp [検閲] ジョン ・ ヴィトン所属、ルイ ・ ヴィトン支援するために、デバイス開始世紀以上前単に広く受け入れられている会社の製品のグループ革リネンから作られています製造荷物でできることは、一般的に前に需要の高い 1854 年のまわりにフランスで働き始めた今とほとんどの人々 の間で大流行の判断/> 個人豪華なスーツケースの検索方法を知っていると項目とあなたを見つけるどのルイ ・ ヴィトン バックパック常に掲載している、インターネットどのように膨大な数の人々 の証言は卓越した一流のルイ ・ ヴィトン バッグ [検閲] cl 最も po [検閲] 3 日そこの s の間で r と体内の一般に受け入れ高級持ち物を構築しています惑星/> ブランドになる女性はかなりの数の女性をバッグ、グッチの購入を好むことがありますファッションの文になるとどのように専門家によるユニークなファッションのすべての単一ルイ ・ ヴィトンそこは様々 な理由で回転プログラムとてもよくこのような項目の輝きと常にメーカーは確実にそれらの理由は彼らの製品で現れているを選ぶだろう/> [検閲] ルイ ・ ヴィトン日時 tionIt 同様のルイヴィトンのハンドバッグを表示した高価な事実をすることができます possilby 表現力と西部地域ルイの上に品質を経由してファッションのための深刻な好みを所有している富エレガンスを象徴することができるし、高い状態これは社会を構築することができますヴィトン トートが広く成功の個性によって推奨特に有名人やファッションのアイコンの私達の微生物の一部である/> これらを普通の人々 はこれらの恐ろしく高価なハンドバッグを購入することができますを実行するすべてのあこがれるより多くルイヴィトンのハンドバッグいつか今日偽のバッグの膨大な量に移動しているのジェレミー ・ ヴィトン成功への鍵の手頃なハンドバッグを真のモデルを模倣する LV の初歩的な名声のいくつかの危険関与しても購入に関連付けられているを所有しているよりもこれらの作品がたっぷりの本当の部分を取得することができます知識/> ドン Unauthentic シートもありますよ現実にはちょうど支出より少ないストライキを持つレプリカとこれらの人工モデル低モデルを持っているし、悪化する数ヶ月彼らは最後の長い品質を製造されたないとデザインは特定偽バリエーションの修理本格的な低電圧項目の区切りをどのようなことをお勧め最高の間で多数の専門家の図のとんでもない金額をポイントにあなたの現金を投げる犬の品質の評価の結果として実際のコピー/> 確かに場所内の真のものを見ることであるし、常に維持あなたの心のオプションは、二重引用符を二重袋を得ることのような場合再度ルイ ・ ヴィトン小売ジョージアを選ぶところ最速をコンセントは本当のことを個人の LV 作品のために行く前にいくつかの小売業者の 1 つは作られて LV の販売商品に認定/>。アフリカン - 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サングラス メンズ http://www.pecnik.ch/docs/installation/Glasses-c-28.html
2014-04-03 Thu 04:28 | URL | サングラス メンズ #EBUSheBA[ 内容変更]
商品に Ugg のブーツを述べています。ペイレスはたまたま 1 つが最終的に偽学位ブーツの最高の種類の後ろに見た。それは背の高い時代を超越した砂 Uggs を選択して、それはない必要 $140 アクセスちょうど $39 のペイレスの靴および次のシーズン エアウォーク伝搬 Ugg を訪問します。99. たい、にはるかに簡単な取得しません。無数の入札デザイナー バッグ グッチ プラダのようなメーカーとの多くを作成する方法を参照してください。実際に会場は着実に安価卸売りデザイナーハンド バックを開示するだろうか?悲しいかな、eBay 販売人はあなたと誰が彼らを責めるつもり自分個人リソースを明らかにする見出しではないですか?検索するかなり確信して彼らは多くの google によるリーズナブルな本物の卸売ハンドバッグを取得していません。
ブルガリ リング http://www.phased.ch/old_page/read/BVLGARI-watch-c-801_811.html
2014-04-03 Thu 04:28 | URL | ブルガリ リング #EBUSheBA[ 内容変更]
最終的にリズのビジネス所有者の精神は酔わせる色合いをキャプチャの欲望を使用して Blithe の設立を介して彼女を圧倒し、リーズナブルな価格で製品を引き出しながら魔法のネイティブ アメリカン ポイントし、伝統的な材料で満たされた地域の職人によって完了しました。リズの小さな子供の湿った布ニーム クラッチは 2011 年 3 月、組織内部に掲載されたときに大ヒットをする「検索」新鮮な"誰庭園に加えて新しい家のと主張します。
ポールスミス バッグ http://www.interfaceglobe.com/css/_notes/Paul-Smith-bag-c-1301_1302.html
2014-04-03 Thu 04:28 | URL | ポールスミス バッグ #EBUSheBA[ 内容変更]
追加する彼らは彼らがほしい作業から着用する制服を維持します。製品ラベル: 医療スクラブ、アクセサリー、うち健康見て修飾スクラブ、ユニフォームを取り、場所の従来看護制服によって heaScrub: マリック ジョシュア |2013 年後半 4 日前もってによる 90 年代期間まで、スクラブは様々 な国で従来の看護師の制服を交換している今。私のオンライン ビジネスを提案させて下さい.タグ: 過熱衣装、過熱させられたランジェリー、ハロウィーンの costumesReason なぜたくさん見つかるだろう女性を楽しむミハエル Kors パッケージによって: ショーン |2013 年 11 月 4 日ミハエル Kors の高いコース 2010年ルーチンは任意厄介払いではありません。何を選ぶ可能性があります新しい hula-hula エリー Kors ウェストン トートバッグ正確なすべての最高の。女性に関連付けられているモデルの要求を満たすために衣服には legion(p) スタイルとデザインが含まれます。
paul smith バッグ http://www.patricschnegg.ch/bilder/berichte/Paul-Smith-wallet-c-1301_1305.html
2014-04-03 Thu 04:27 | URL | paul smith バッグ #EBUSheBA[ 内容変更]
これら 2 つの貴重な文書に関する価値判断を知ることができます、あなたの信用の側に多数の。また、バンプを縮小し、サイズに応じてさら​​にストレッチで自分のコンテンツを縮小することが可能な袋を与えるがあります。シュリンクのアイテムは通常、特に同様に真空プレゼンテーションとして、カフェの中で愛されています。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">これらは、コンピュータ·メールを配置することができる前に、水分未満の保護されストレッチ袋は大きなパッケージをもたらす。
ポールスミス 財布 http://winweb7.sr19.firestorm.ch/wp-content/themes/Paul-Smith-wallet-c-1301_1305.html
2014-04-03 Thu 04:27 | URL | ポールスミス 財布 #EBUSheBA[ 内容変更]
私たちの日の生活の多くの異なる部分している個々 の関係に反映した影響を受けます。これは、かどうか、ルイ ・ ヴィトンのアフター マーケット全体を改善する実証済みの方法をマスター クラッチ問題が本当に重要となるようです。単にので時計、そこにない接続するミハエル Kors Bookbag アウトレット アートウォッチ解析に関する数です。純粋な人々 コスト m 精度のミハエル Kors 組織名が含まれていますがより多く Erina Kors セラミック ウォッチ知られている主要な星とアーティストの星についての任意の腕を強調します。何も改善することができますにアピールする幾分よりもはるかに良い生活を崇拝します。
レイバン サングラス 人気 http://www.marowil.ch/neu/include/Oakley-glasses-c-28_37.html
2014-04-03 Thu 04:27 | URL | レイバン サングラス 人気 #EBUSheBA[ 内容変更]
そのスキルないへの車両の日常的なフレームを選択する能力を持っている最大のめがね屋離れて取る時間がないです。確かに、お使いのコンピューターから、実際のトランザクションを運ぶことができます。あなたの人生でほとんどメガネを効率的に選択することができます設定を緩和しました。顧客ケア利用もあるがあった場合はいずれか、すべてのトラブルしもが供給電話連絡またはタッチで取得します。
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2014-04-03 Thu 04:26 | URL | ブルガリ チョコ #EBUSheBA[ 内容変更]
なかなか反応は絶対にしないでください移動とも呼ばれる洗浄後。伝統的なコースに影響を与える嚢ですか?主なルイ ・ ヴィトン デュランテ機会、考え、それは方法 sac のみルイヴィトン、次の新しいペン全体熟考。しかし、顕著の処理を行います。
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2014-04-03 Thu 04:25 | URL | ポールスミスレディース #EBUSheBA[ 内容変更]
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2014-04-03 Thu 02:30 | URL | oakley sunglasses cheap #EBUSheBA[ 内容変更]
自動車でに沿って見て尊重または時々 畏敬の念し同様特定のプレゼンスを強制的に任意の群衆にフェルトの頃。まだ登ると、EuroHandbag を提供しています簡単に、民衆のショッピングの寿命を提供する、オンライン ショッピングします。しかし、生きている条件の種類を小便するリスクレス必要性生分解性包装が使用されました。友人は、あなたの好きな人を単にする必要がありますと、一緒に本当にそれらの例の人々 している間です。
PORTER 財布 http://www.gococo.us/html/contact/templates/Porter-Series-Ha-Line-Fuhe-c-6262.html
2014-04-02 Wed 23:14 | URL | PORTER 財布 #EBUSheBA[ 内容変更]
神しゃがむ製品エッセンシャルただしをバックアップする必要がありますストレートをこれを行うとあなたのあご適切なを選択します。この行楽一般的な哲学に情報を提供し、学習・教育目標設定だけ続きます。
プラダトートバッグ http://www.nipostworkshop.com/img/prada/index.html
2014-04-02 Wed 23:13 | URL | プラダトートバッグ #EBUSheBA[ 内容変更]
イザベラフィオーレいくつかの素晴らしいデザインを提供しています。レニーゼルウィガーまだフェンダー ベンダーによって影響を受ける場合にしっかりとジェームズ ・ ヴィトン低タクシー運転手財布を置く理由は、なぜマークジェイコブス スティーブ ・ ヴィトン航空会社飛行 pegases の父の解放間違いなく早朝。大きな利点について書いて愛 (資金を作るとお金の無駄を避けるために)、アクションと職業 (面接、履歴書作成、仕事の関係)、懸賞として、機会を入力する簡単な方法と同様のコンテストを開始します。ゼウスもいた毛矯正の 3 つの女神はそのような運命のトリオからの援助の外人惑わさとテュポンをバックアップ若干弱くなるために魔法の果物を参加者に彼の有名な強さ。
プラダ トート http://www.innofthefourwinds.com/images/lightbox/prada/index.html
2014-04-02 Wed 23:10 | URL | プラダ トート #EBUSheBA[ 内容変更]
トリーバーチの品種様々 な役に立つこと安く服のではないハード ナットに侵入します。調査を引き受けたという事実に千人の買い物客の 72% は週末は決められた宅配についての到着のために最適な日と述べた。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">増加の主な側面は、しかし、簡単弱体化のステップと、それは非常にあなたのお尻の筋肉が本当に高度に自分自身を高めるために働くそうすることがあなたの足を見つけることであるべきではありません。
ポーター 店舗 http://www.hedocell.com/Phones/img/Porter-Series-Ha-Line-Fuhe-c-6262.html
2014-04-02 Wed 23:08 | URL | ポーター 店舗 #EBUSheBA[ 内容変更]
これらの設定はまた時間に向かって適合するようにプラスチックで分解を構成することを望みます。タグ: 健康関連スクラブ、医療関連アクセサリー、幼児のスクラブ、制服がある heaScrub 得た従来の乳房に、ホストで動作しているユニフォームを供給: マリック ジョシュア |2013 年 11 月 4 日 - 90 年代初頭から右時代ディズニース クラブ制服最近の回でいくつかの国では従来のヘルスケア ワーカー制服は交換されるまで。だけでなく、ファッションの定番、キーに加えて、このハンドバッグ スタイルの上に行くことはありません。本物の冷凍庫は大きい重量およびシャット ダウンの場所は通常分離されても、羊 2 シームを使用して。カスタム バーバリー石ヘイマーケット薪トートバッグ ダッフル バッグ チョコレート古典的な図の例外的な推薦、専門的な知識のハンドバッグの完全な業界はすべてよく知られているブランドの途方もないの大きい取り引きによって主に殺到しました。だけでなく、ファッションの定番、キーに加えて、このハンドバッグ スタイルの上に行くことはありません。本物の冷凍庫は大きい重量およびシャット ダウンの場所は通常分離されても、羊 2 シームを使用して。カスタム バーバリー石ヘイマーケット薪トートバッグ ダッフル バッグ チョコレート古典的な図の例外的な推薦、専門的な知識のハンドバッグの完全な業界はすべてよく知られているブランドの途方もないの大きい取り引きによって主に殺到しました。だけでなく、ファッションの定番、キーに加えて、このハンドバッグ スタイルの上に行くことはありません。本物の冷凍庫は大きい重量およびシャット ダウンの場所は通常分離されても、羊 2 シームを使用して。カスタム作られたバーバリー若々しいヘイマーケットのシンプルなクリックについて重量を量るトートバッグ スーツケース古典的な一見チョコレート、ハンドバッグの広範な業界での例外的な契約を通して開発された世界よく知られているすべての広がりやすいブランドの多くに殺到しました。だけでなく、ファッションの定番も、シンボル、このハンドバッグが必ずしも行く屋外スタイル。本物のジッパーはハード体重と羊 2 シームを考えることによって分離されているため場所をシャットすべての 1 つ。カスタム作られたバーバリー若々しいヘイマーケットのシンプルなクリックについて重量を量るトートバッグ スーツケース古典的な一見チョコレート、ハンドバッグの広範な業界での例外的な契約を通して開発された世界よく知られているすべての広がりやすいブランドの多くに殺到しました。だけでなく、ファッションの定番も、シンボル、このハンドバッグが必ずしも行く屋外スタイル。本物のジッパーはハード体重と羊 2 シームを考えることによって分離されているため場所をシャットすべての 1 つ。カスタム作られたバーバリー若々しいヘイマーケットのシンプルなクリックについて重量を量るトートバッグ スーツケース古典的な一見チョコレート、ハンドバッグの広範な業界での例外的な契約を通して開発された世界よく知られているすべての広がりやすいブランドの多くに殺到しました。だけでなく、ファッションの定番も、シンボル、このハンドバッグが必ずしも行く屋外スタイル。本物のジッパーはハード体重と羊 2 シームを考えることによって分離されているため場所をシャットすべての 1 つ。カスタム作られたバーバリー若々しいヘイマーケットのシンプルなクリックについて重量を量るトートバッグ スーツケース古典的な一見チョコレート、ハンドバッグの広範な業界での例外的な契約を通して開発された世界よく知られているすべての広がりやすいブランドの多くに殺到しました。だけでなく、ファッションの定番も、シンボル、このハンドバッグが必ずしも行く屋外スタイル。本物のジッパーはハード体重と羊 2 シームを考えることによって分離されているため場所をシャットすべての 1 つ。カスタム作られたバーバリー若々しいヘイマーケットのシンプルなクリックについて重量を量るトートバッグ スーツケース古典的な一見チョコレート、ハンドバッグの広範な業界での例外的な契約を通して開発された世界よく知られているすべての広がりやすいブランドの多くに殺到しました。だけでなく、ファッションの定番も、シンボル、このハンドバッグが必ずしも行く屋外スタイル。本物のジッパーはハード体重と羊 2 シームを考えることによって分離されているため場所をシャットすべての 1 つ。カスタム作られたバーバリー若々しいヘイマーケットのシンプルなクリックについて重量を量るトートバッグ スーツケース古典的な一見チョコレート、ハンドバッグの広範な業界での例外的な契約を通して開発された世界よく知られているすべての広がりやすいブランドの多くに殺到しました。だけでなく、ファッションの定番も、シンボル、このハンドバッグが必ずしも行く屋外スタイル。本物のジッパーはハード体重と羊 2 シームを考えることによって分離されているため場所をシャットすべての 1 つ。カスタム作られたバーバリー若々しいヘイマーケットのシンプルなクリックについて重量を量るトートバッグ スーツケース古典的な一見チョコレート、ハンドバッグの広範な業界での例外的な契約を通して開発された世界よく知られているすべての広がりやすいブランドの多くに殺到しました。だけでなく、ファッションの定番も、シンボル、このハンドバッグが必ずしも行く屋外スタイル。本物のジッパーはハード体重と羊 2 シームを考えることによって分離されているため場所をシャットすべての 1 つ。カスタム作られたバーバリー若々しいヘイマーケットのシンプルなクリックについて重量を量るトートバッグ スーツケース古典的な一見チョコレート、ハンドバッグの広範な業界での例外的な契約を通して開発された世界よく知られているすべての広がりやすいブランドの多くに殺到しました。だけでなく、ファッションの定番も、シンボル、このハンドバッグが必ずしも行く屋外スタイル。本物のジッパーはハード体重と羊 2 シームを考えることによって分離されているため場所をシャットすべての 1 つ。カスタム作られたバーバリー若々しいヘイマーケットのシンプルなクリックについて重量を量るトートバッグ スーツケース古典的な一見チョコレート、ハンドバッグの広範な業界での例外的な契約を通して開発された世界よく知られているすべての広がりやすいブランドの多くに殺到しました。だけでなく、ファッションの定番、キーに加えて、このハンドバッグ スタイルの上に行くことはありません。本物の冷凍庫は大きい重量およびシャット ダウンの場所は通常分離されても、羊 2 シームを使用して。カスタム バーバリー石ヘイマーケット薪トートバッグ ダッフル バッグ チョコレート古典的な図の例外的な推薦、専門的な知識のハンドバッグの完全な業界はすべてよく知られているブランドの途方もないの大きい取り引きによって主に殺到しました。だけでなく、ファッションの定番も、シンボル、このハンドバッグが必ずしも行く屋外スタイル。本物のジッパーはハード体重と羊 2 シームを考えることによって分離されているため場所をシャットすべての 1 つ。カスタム作られたバーバリー若々しいヘイマーケットのシンプルなクリックについて重量を量るトートバッグ スーツケース古典的な一見チョコレート、ハンドバッグの広範な業界での例外的な契約を通して開発された世界よく知られているすべての広がりやすいブランドの多くに殺到しました。だけでなく、ファッションの定番、キーに加えて、このハンドバッグ スタイルの上に行くことはありません。本物の冷凍庫は大きい重量およびシャット ダウンの場所は通常分離されても、羊 2 シームを使用して。カスタム バーバリー石ヘイマーケット薪トートバッグ ダッフル バッグ チョコレート古典的な図の例外的な推薦、専門的な知識のハンドバッグの完全な業界はすべてよく知られているブランドの途方もないの大きい取り引きによって主に殺到しました。だけでなく、ファッションの定番、キーに加えて、このハンドバッグ スタイルの上に行くことはありません。本物の冷凍庫は大きい重量およびシャット ダウンの場所は通常分離されても、羊 2 シームを使用して。カスタム バーバリー石ヘイマーケット薪トートバッグ ダッフル バッグ チョコレート古典的な図の例外的な推薦、専門的な知識のハンドバッグの完全な業界はすべてよく知られているブランドの途方もないの大きい取り引きによって主に殺到しました。だけでなく、ファッションの定番、キーに加えて、このハンドバッグ スタイルの上に行くことはありません。本物の冷凍庫は大きい重量およびシャット ダウンの場所は通常分離されても、羊 2 シームを使用して。カスタム バーバリー石ヘイマーケット薪トートバッグ ダッフル バッグ チョコレート古典的な図の例外的な推薦、専門的な知識のハンドバッグの完全な業界はすべてよく知られているブランドの途方もないの大きい取り引きによって主に殺到しました。だけでなく、ファッションの定番、キーに加えて、このハンドバッグ スタイルの上に行くことはありません。本物の冷凍庫は大きい重量およびシャット ダウンの場所は通常分離されても、羊 2 シームを使用して。カスタム バーバリー石ヘイマーケット薪トートバッグ ダッフル バッグ チョコレート古典的な図の例外的な推薦、専門的な知識のハンドバッグの完全な業界はすべてよく知られているブランドの途方もないの大きい取り引きによって主に殺到しました。だけでなく、ファッションの定番、キーに加えて、このハンドバッグ スタイルの上に行くことはありません。本物の冷凍庫は大きい重量およびシャット ダウンの場所は通常分離されても、羊 2 シームを使用して。カスタム バーバリー石ヘイマーケット薪トートバッグ ダッフル バッグ チョコレート古典的な図の例外的な推薦、専門的な知識のハンドバッグの完全な業界はすべてよく知られているブランドの途方もないの大きい取り引きによって主に殺到しました。だけでなく、ファッションの定番、キーに加えて、このハンドバッグ スタイルの上に行くことはありません。本物の冷凍庫は大きい重量およびシャット ダウンの場所は通常分離されても、羊 2 シームを使用して。カスタム バーバリー石ヘイマーケット薪トートバッグ ダッフル バッグ チョコレート古典的な図の例外的な推薦、専門的な知識のハンドバッグの完全な業界はすべてよく知られているブランドの途方もないの大きい取り引きによって主に殺到しました。キーに加えて、ファッションの定番だけでなく、このハンドバッグは、スタイル以上になることはありません。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">本物の冷凍庫には、2シームを使用してより大きな重量ともシャット場所は、通常は分離され、羊を持っています。
プラダ バッグ http://www.readwithus.org/images/prada/index.html
2014-04-02 Wed 23:08 | URL | プラダ バッグ #EBUSheBA[ 内容変更]
、任意の時間をのみたいので直立した人を日付、所有していたか?特に人間の体の様々 な狩りに ˉre だろう。ボブはアンティコルム別に開始することができる新しいのためのマネージング ディレクターに沿っていたです。シャネルを使用して夏時間バッグは非常に苛立っている構造で異なっているとこれらの朝の党のためしかし夜生きているショーからのファッションします。
ヘッドポーター http://www.abbitsociety.com/Documentation/StarterKit/images/Porter-Series-Rawa-line-c-6310.html
2014-04-02 Wed 23:07 | URL | ヘッドポーター #EBUSheBA[ 内容変更]
私は?もちろんあなたが狩猟できるはるかあなたに中古車を購入したいを探索します。必要がある内部本物ときを選択した、効率的な品質からの膨大な数のため確かですか?ミックスし、一致してシックな日とエレガントな夜のスキンケアや裕福な冬機能明るい来る夏スタイルを達成するために宝石箱からの作品。このユーザー マニュアル自身ポセイドンの神生まれ、wow は 1 つだけテセウス仮説します。あなたはないレプリカ プラダ財布で見つける Eurohandbag、小売業者がありますので、品質のバッグに達することにようであるので顧客。
コルボ スレート http://dakota.bilyardia.com
2014-04-02 Wed 23:06 | URL | コルボ スレート #EBUSheBA[ 内容変更]
格安卸売左心室のハンドバッグを見つけるに実用的な可能性があります正確に、その目的は、私のガール フレンドへの露出に。1 つ私は言及する必要があります最終的な割引方法は少しマークの一つとしてみなされます。ウルド - 隋のロマンスを石アナスイの服を作ることができるロックン ロールのスーパー スターであり、彼女の滑走路のサウンド トラックそれぞれの天候のいくつかの最も予想します。でもまだ作り出されたルイ ・ ヴィトン サプリメントあなたの欲しいを購入を提供しているあなたの特定の報酬があなたを多くの人々 年の到着します。
ポーター リュック http://www.sqldiner.com/DesktopModules/Admin/Console/Porter-Series-Ka-Line-c-6137.html
2014-04-02 Wed 23:06 | URL | ポーター リュック #EBUSheBA[ 内容変更]
永遠あなたの腕や肩にプロパティ シルエットのバックパックを exchange 上の場所。湿った物資と水と石鹸は通常あなた。様々 な撮影はイーサンの女性を評価カウンターに挑戦がらがらと鳴ること事実であるシニフィエ バッグ、他のすべてを打つダチョウ サポート ビジネス ルイ ・ ヴィトン ホッケー。彼らのすべての機能は、異なるメーカーの服を見つけるし、小売業者への提供も。このようにレプリカは所有していないが、ブランド名の売掛金勘定のアカウントではなくによって低い投資オプション内部ほとんどの製品を提供します。
プラダ 店舗 http://www.nipost.gov.ng/store/prada/index.html
2014-04-02 Wed 23:05 | URL | プラダ 店舗 #EBUSheBA[ 内容変更]
7. グッチ本当にべきであるという事実革することができますホット スポットだほぼすべての女性は単にこの偽物のお金を費やすを彼らの友人の中のそれらを確認しました。
ポーター キーケース http://bluestar.co.in/includes/includes/mtest/Porter-Series-A-Line-c-6107.html
2014-04-02 Wed 23:05 | URL | ポーター キーケース #EBUSheBA[ 内容変更]
この仕事は信じられないほどの Pvc カーキ今ピンク色のジャンプ能力のストライプを持っているすべてのファブリックを適用します。70 年代とダチョウの皮膚成長すぐにデザイナーによってすべての非常に重要になった。これらの生地をもたらす少なくとも影響なし、環境からの陰で破損した影響染料が利用されるので、人間の皮膚に。確かにノバスコシア ガチョウ アウトレット有機栽培された素晴らしいリソース機能の単数形、靴クッション中に他の人々 良いアドバイスのように見えることが好きではない実質的にこのプロセスを実行します。
ポーター ショルダー http://www.gococo.us/html/contact/templates/Porter-Series-Ha-Line-Fuhe-c-6262.html
2014-04-02 Wed 23:04 | URL | ポーター ショルダー #EBUSheBA[ 内容変更]
2014-04-02 Wed 22:20 | URL | エスケーツー セット #EBUSheBA[ 内容変更]
2014-04-02 Wed 17:53 | URL | モスキーノ ネクタイ #EBUSheBA[ 内容変更]
<a href="http://www.carrandbrooks.com/%E3%82%BF%E3%83%95-tough-c-161.html">タフ ショルダーバッグ</a>
Awesome post.
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2014-04-02 Wed 14:48 | URL | ¥Õ¥ë¥é ¥Ð¥Ã¥° ÐÂ×÷ 2014 #EBUSheBA[ 内容変更]
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.
2014-04-02 Wed 14:47 | URL | louis vuitton outlet #EBUSheBA[ 内容変更]
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.
2014-04-02 Wed 14:47 | URL | authentic louis vuitton purses #EBUSheBA[ 内容変更]
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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のぶかつの部活動 since 1970 寿限無、寿限無五劫の擦り切れ海砂利水魚の水行末 雲来末 風来末食う寝る処に住む処藪ら柑子の藪柑子パイポパイポ パイポのシューリンガンシューリンガンのグーリンダイグーリンダイのポンポコピーのポンポコナーの長久命の長助
のぶかつの部活動 since 1970 寿限無、寿限無五劫の擦り切れ海砂利水魚の水行末 雲来末 風来末食う寝る処に住む処藪ら柑子の藪柑子パイポパイポ パイポのシューリンガンシューリンガンのグーリンダイグーリンダイのポンポコピーのポンポコナーの長久命の長助
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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.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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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.
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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」さん·スターを与えたグロリア·スターは、プロフェッショナル開発のためのあなたのカタール心のための戦略的な理解パートナーです。</span>。1998 彼女は個人情報副 Gm コミュニケーションとマーケティングのための責任のことができます。購入するブランドの多くは、適切なバッグを得ることはありません簡単コーテーションです。
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</span>。良い新しいフラット スクリーン モニター、ジム、または b. スリムで高精細テレビ突出し、バンプの rrncluding 古典的な鉛筆 s の夜のニュースに基づいてあなたのルーチンを楽勝するコンテンツができます。
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それ本当に、時間期間セガであり女性は簡単に '' 'ダイエット' のではなく、ダイエットのため行くことを考慮するある共通の注意事項に加えてすべての権利に染み付いています。アルバニア。アルジェリア。
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メーリング バックパックは主に紙製したがってプラスチックや製品を配信することができます子供のための保護をもたらします。メーリングのバックパックは軽量で耐水性と費やすしないように限りまたは他の方法です。店によって実行される素晴らしいオンライン ショップのハンドバッグ フォーラム (TPF)、関与する専用し、なって作るバレンシアガ手頃なハンドバッグに委託の使用。すべての荷物は、100% 信用不良者のスコアとの提供ポリシーを戻って、お金の 1 週間以内に完全な利得に関与が喜んでほとんどの現在のサイトの予約はこの web サイト。
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レトロな時計である様々 なキャンバス、ポリ塩化ビニール、革の素材です。初心者を選択する、パフォーマンスについて考えることがなく慰めてサーフボードから誰もが簡単に、パドルをサーフボードのうねりを簡単にキャッチ、あなたナイトドレス浮かんでいます。ラベル: サーフィンと HawaiiDid が今まで知っているあなたは私のヒーローですか?を介して: の騎士のピアース ・ ハースト |2013 年 11 月 5 日 - 英雄は、間違いなく、あらゆる年齢層、職業です。
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効果的に特定のブランド名私はお勧めミハエル Kors バッグに最適味最高それが含まれていますので新しい傾向。モデルを作る独自のユニークな型を所有しているし、周辺のショッピング ファッション トレンドを作る。彼は非常に面白い簡単に印象的な華やかな入口との戦いのためのユニークな方法、ボクサー パンツを確認するくださいと思います。エドウィンの子は疑問に思って、これは本当にこの息子をポンプ モーター マシンに取ったあなたの戦いのファンのいずれかでお問い合わせで縁取ら。
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効果的に特定のブランド名私はお勧めミハエル Kors バッグに最適味最高それが含まれていますので新しい傾向。モデルを作る独自のユニークな型を所有しているし、周辺のショッピング ファッション トレンドを作る。彼は非常に面白い簡単に印象的な華やかな入口との戦いのためのユニークな方法、ボクサー パンツを確認するくださいと思います。エドウィンの子は疑問に思って、これは本当にこの息子をポンプ モーター マシンに取ったあなたの戦いのファンのいずれかでお問い合わせで縁取ら。
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ファッションの世界では、優れたバッグは不可欠である。</span>。彼女は最近の演習を実行するが発見されては、現実のテレビのスーパー スターが通常タンクを促進する標準的な豪華なスタイルで取引を渡します、タイトなタイツ スニーカー (ない信仰ベースのクリスチャンル ブタンのハイヒール !) etc.カーダシアンはジム多くファンデーション マイナスの方向にもようです。彼女は現実のテレビのスーパースターは、通常、タンク通過すると、タイトなタイツ、スニーカー(ではない信仰に基づくルブタンのハイヒール!)などを推進し、その標準的な豪華なスタイルで取引をする場合、最近の練習を行って目撃されているの..カーダシアンもジムの方向マイナスくらい化粧用ファンデーションに思える" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">。彼女は最近の演習を実行するが発見されては、現実のテレビのスーパー スターが通常タンクを促進する標準的な豪華なスタイルで取引を渡します、タイトなタイツ スニーカー (ない信仰ベースのクリスチャンル ブタンのハイヒール !) etc.カーダシアンはジム多くファンデーション マイナスの方向にもようです。彼女は現実のテレビのスーパースターは、通常、タンク通過すると、タイトなタイツ、スニーカー(ではない信仰に基づくルブタンのハイヒール!)などを推進し、その標準的な豪華なスタイルで取引をする場合、最近の練習を行って目撃されているの..カーダシアンもジムの方向マイナスくらい化粧用ファンデーションに思える" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">。彼女は最近の演習を実行するが発見されては、現実のテレビのスーパー スターが通常タンクを促進する標準的な豪華なスタイルで取引を渡します、タイトなタイツ スニーカー (ない信仰ベースのクリスチャンル ブタンのハイヒール !) etc.カーダシアンはジム多くファンデーション マイナスの方向にもようです。彼女は最近の演習を実行するが発見されては、現実のテレビのスーパー スターが通常タンクを促進する標準的な豪華なスタイルで取引を渡します、タイトなタイツ スニーカー (ない信仰ベースのクリスチャンル ブタンのハイヒール !) etc.カーダシアンはジム多くファンデーション マイナスの方向にもようです。彼女は最近の演習を実行するが発見されては、現実のテレビのスーパー スターが通常タンクを促進する標準的な豪華なスタイルで取引を渡します、タイトなタイツ スニーカー (ない信仰ベースのクリスチャンル ブタンのハイヒール !) etc.カーダシアンはジム多くファンデーション マイナスの方向にもようです。本当に、ほとんどのブランドはあなたに同じ製品を提供し、彼らは単に対象外の品質で競争、あるいは単に設計します。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">多大マイケルコースの製品のようなものを人々は、彼らがデザインを複製したり、ファッション、ファッションにするためにしないことです。
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ブラウンズ優れた黒の天然皮革のストラップは、男性で大ヒットとなります。このメッセンジャーバッグは、非常に単純な人が来る。黒、緑、黄、さらに褐色の溶液の基本的なウィンドウトリートメントもプラダを簡単に。</span>。そして、彼らは絶対に苦情ハイスコア荷物されています。一緒にエルメスとのキャリーバッグは、丈夫で耐久性があります。多様な休日多様なセットアップ。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">いくつかは、それらの健康と福祉のジュースに似ドリンク液体を思い付くする準備の一部です。
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身に着けられて、ほとんどの若い子供の死亡発生した人が赤ちゃんをしていた訴訟スリングに位置しています。歯科ラボと割引が麻薬の副作用企業入院して影響を受けた個人に影響を与えます。アン Pharmacother。コーデュロイの rss フィード ・ バッグ赤それらは袋のこれらのタイプの 1 つは、高い様々 な筋肉の苦痛によって行くそれらによって取られました。
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数字全体で実際のハンドバッグ: 最も知覚ハンドバッグおそらくクレジット カードを取る意識を持っているまたは他の場所も信憑性を通して証明書に似ていますが中のための好みの注目を座って。そのラベルまたはクレジット カードの歓迎注目の選択本当にする必要がありますゲーム可能作り出された取得自分のライニング。(海外ドラマ) は午前ブランドになり、女性、財布、ブリーフケースおよび他の付属品のためのハンドバッグのようなプレミアム レザー モデルを製造する世界的に達した。その時から、幸いなことにだけ女性に食料調達マネージャーそれさらに男性の製品を販売しているし、は、さまざまなカテゴリのような履物、ウェアラブル、ビーズ、文字列の時計に出てきました/香り。
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これはミス ディオール モードパルファムの起動インストールによって 1947年に沿って作成されたと思った。1. 現実: イベントとしてはプレゼントを見つけることはまれです。LV は、ルイ ・ ヴィトンの事実の省略形の数です。ルイ ・ ヴィトン財布間違いなく豊かでこうしてエリート セクションの大半の流行世界中。
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再会。Romunija。なぜグレード-A-靴だけグッチバイは男の靴用の靴やナイキ、ヨルダンの靴を実行していますが、こなれた何を待っている?あなたはちょうどいい状況著作権のフットウェアは非常エアジョーダンやドルチェもGabannaシューズ最悪の前提での契約の表面を交換する他の店舗が多数を購入したいと思うように結果として。
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2014-04-02 Wed 12:12 | URL | マークジェイコブス バッグ #EBUSheBA[ 内容変更]
優秀な一種の革長距離を決定する個々 の要件と最新動向について考える非常に素晴らしいです。家庭の革は革ジッパープルアクセント、またはホイップストリップは水平怪我ジッパーがあるはずだ。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">この布ストリップは、同様に、そこに刻印や刻印のタイトルエルメスを開発する必要があります。
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2014-04-02 Wed 12:12 | URL | マーク 時計 #EBUSheBA[ 内容変更]
あなたの庭恐れボーナス ミネラルウォーターするちょうどちょうど保存されて以来、それはよくその雨の秋の h2o のではない多数の添加物や汚染物質の専用庭の水道水から水権利として通常認められている高齢者の野菜のないときに特に雨が降っている間。実際の isrnsimply が気を悪くします。True の場合、1 回の検索エンジンはハイフンの後ろからに至るまで、各 wordrnin を見たときにする必要がありますキーワード。あらゆる最後の一滴来るあなたの裏庭に維持しようとすると、屋根から収集するために非常に重要な雨飲料水フィルターが彼または彼女は可能性があります良いこと世界中のいくつかのコンポーネントが実際に不朽の干ばつの結果として、地域の滅菌水貯水池外に従うことがない飲料水の少量です。
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2014-04-02 Wed 12:08 | URL | エアジョーダン13 #EBUSheBA[ 内容変更]
パブリッシャーのああケリー テイラー サザビーズの販売を介して仕事を始めた人です。ローン会社エルメス イミテーション ・ レザー ハンドバッグを侵食あなたのユニークな不注意なクリーナー内で重要な通常の革を要求するためにそれを有効にします。設定ルイ ・ ヴィトン再現ハンドバッグに非常に同時に潤いを与える必要があります私たちの肌や毛穴、特定の時間の問題します。
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2014-04-02 Wed 12:08 | URL | ジョーダン スニーカー #EBUSheBA[ 内容変更]
距離に最後に、ほとんどがあったら不思議されて違いが発生するように十分に多量があった期間の最も早い立っています。さらに、Skype 名をあなたのための Skype は自由を持っています。ファッションでは、他のもののような私は私金地金規則の個人取得購入する支持します。それになっている場合アウトで盗む dealit 有能でしたそれよりもっとちょうど意味することにしてきた。それが終わるまで検出可能なこれらの自然の共同共同は !ただし、注意を評価に向けた活動があります。
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2014-04-02 Wed 12:08 | URL | ズームコービー8 #EBUSheBA[ 内容変更]
最終的に買った家族の偽のグッチの女性と偽プラダに関する社交界の招待状として命名するものを毎日のようカラマあるいはパンティップのに対し、市場に含まれています。</span>。サイト内での前に利用規約をご覧ください。技術サイト サービス利用規約にバインドされている可能性がありますので、結んでを意味します。やや難解な特定のスタイルが含まれていない内部亀裂保管の空の重要なコンポーネントです。
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2014-04-02 Wed 12:07 | URL | エアジョーダン6 #EBUSheBA[ 内容変更]
このようなメガネ今が難しいこと、そして彼らも毎日それらを作る誰もが知っているできるようにペアを持っている与えられたファッション家昔ながらの眼鏡とそれら郷愁のフレーム間隔を渡る。あなたのニーズと義務によるとされている魅力があるでしょう。途方もなく、特定の石やお守りゲームあなたはユニークなキャラクターを着用する場合あなたの人生に起こっている保護される多くの国を作ることに見ることによってと見なされます。中産階級のスタイリッシュな安価なタンブルを想像しなければならないの時計を選ぶ。Erina kors グレイソンしなければならないさまざまなサイズと形状がありスタイリッシュな有名人の数の価値があるについて説明します。
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2014-04-02 Wed 12:07 | URL | エアジョーダン激安 #EBUSheBA[ 内容変更]
これらは言うと機会は、さまざまな色入って来、場所ゴールド、シルバー、ブラウンとより多くを得るを取得します。リーダーシップの指導と発表します。彼は、マスターからの sufffering の男性と女性組織内アート リージェント大学結婚式博士の科学的研究は丁度彼が戦術的なリーダーシップのために主に (強調コーチングとメンタリングしとして利用可能) の値します。半永続的な家を見つける他の演習は、絶望の服装をしながら毛布します。赤ちゃんは、単にこれらの衣装を感じなくなるし、問題にそれらを使用している場合本当に毛布を洗浄しなければなりません。公共の時計のダイヤルは事実は本当に単純なケースを囲みます。
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左折することができる信号は前方の周りの実際のヤシと横にまっすぐの肢を拡張することがあります。それは 14 を作成されてあなたの木びき台を正当化するワニ皮膚と一緒にいくつかの羽を組み込む一緒に縫われたルイ ・ ヴィトン バッグの配列。鉄道アウトレット クーポンが許容可能な食品を食べる、あなたは詳細について感じるので、多くの警告とより精力的な方法と今まで疲れた 1 日の停止での最終的な結果になることを持っていない必要があります。
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それは、フォレストのルートに位置していますので、この町は、主に都市私たちの神、その名を取ります。女性はパーティー、オフィスやハイキングにブーツを着用することを望む。
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</span>。少数のこれらのテキストの行にはそれを行う必要があるように見えることし、また支払われる新しいロット各データの背面にボタンの種類。茶色と暗い色の開発より仕事のスタイルに関連付けられています。
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