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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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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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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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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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).
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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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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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.
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.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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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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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.
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Fashion and Gender
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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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セレクトショップはお洒落で威圧感があります。お客さんが少ない時間帯に行くと、複数の店員が自分を見ているという状態に陥ることも…こういう無言の接客にプレッシャーを感じる人もいるのではないでしょうか周りもお洒落が好きだったり、服に気を使っている人ばかりなので洒落てます。店員さんも洒落てます。接客のhow toでもいいましたが、いきなり行くにはハードルは高め友達に連れて行ってもらうならいいけど、一人で行くとセレオリ買おうと思って店員さんにコーデ選んでもらってもセレクト掴まされて会計がえらいことになったりとか、結構怖い。お洒落過ぎてて、自分には無理…と思う人もいるみたいなので、やはりユニクロで最初に揃えてから脱オタ後にお洒落しに行く所なのかなと。セレオリは脱オタの登竜門ではなく、脱オタファッションから抜け出したい人の次のステップここに行くまでにある程度の服の知識、ベースとなる服が欲しい。あくまで行くのはセレクトショップなのでセレクトされたブランドも置いてある。セレオリっていうのはただの一つの選択肢であるということを理解してください安いと言われるので何となくそんなイメージですが、実際はそこそこのお値段。別にセレオリじゃなくても他のブランドも買うことができる値段です。ちょっと手を伸ばせばもっと良い物や自分のお気に入りになるブランドが見つかるかもしれません。確かに指定はしやすいですが、もっと視野を広げてもいいのかなと思います。節操がないファッションイベント
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また、植物に詳しくないので、誤っている発言になるかもしれませんが、正直植栽の見た目は悪く思えます(少なくとも以前住んでいた戸のマンションよりも)。No.211さんの書かれているように観葉植物など、癒される植物に置き換えて行った方がいいような気がします。シンボルツリーもないですし・・・契約者専用ライオンズ港北ニュータウンローレルコート
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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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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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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.
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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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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Fashion and Gender
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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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).
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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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『どうぶつの森e+』までのシリーズに搭載されていた、「アミを持ったままの構え歩き」が復活し、会話の選択肢を選んだ際はプレイヤーがうなずく・首を振るなどの動作や、秋や冬に海で泳いで陸に上がった直後に寒がってくしゃみ・身震いをする動作をするようになった。さらに、ししょーから教えてもらえる「リアクション」の種類や所持できる数も、『街へいこうよ どうぶつの森』に比べて大幅に増えている。今作では顔のデザインが男女ともに新パターンが数種類追加され、『街へいこうよ どうぶつの森』と同様、ゲームを進めると「ビューティサロン スピーディ」でMiiの顔にする事も出来る。主な新アイテムとして、「メガホン」と「マリンスーツ」が登場している。メガホンは3DSのマイク機能を使い住人の名前を呼ぶことで、その住人がどこにいるのかを把握でき、マリンスーツは着る事で海を泳げたり、素潜りも行えるようになった。素潜りでしか捕まえられない生物も登場するが、これらの生物は「海の幸」として分類される[13]。壁掛けの時計やエアコンといった壁掛けの家具が新たに追加され、とたけけからもらった曲もレコードジャケットとして床や壁に飾れるようになり[注 5]、一部の家具は後述のリメイクを施すことで外観を変えることも可能。なお、ミュージックは今作から非売品のアイテムではなくなったため、まめつぶの店でも販売され、カタログからでも購入出来る。ゲーム開始時に、みしらぬネコが見せてくれる4枚の地図から、自分の好きな地形の村を選ぶことが出来るようになった。役所・橋・リサイクルショップなどといった建築物の場所はランダムだが、駅(掲示板)・線路・踏切の位置はどの地形でも位置は変わらない。今作では自分の好きな場所に家を建てられるようになった。また、家の外観(エクステリア)の屋根・外壁・柵・ポスト・ドアを取り替える事が可能で、部屋の改築や増築は、自分の好きな順番から行える[注 6]。また、部屋のカメラの切り替えが強化され、360自由に見渡せるようになった。 前作までは同時に2人までしか同じ建物に入れなかったが、今作では4人まで同時に入ることが出来る。営業時間:24時間営業
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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.
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 can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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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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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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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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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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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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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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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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ポルノの星の靴セット彼ら以前カジュアル「ブーティ」、スリッパやスニーカーを考慮するを実行します。再び私は物理的に私ダウン ロードされ、ブラウザー タブを見詰めるときに彼はそれらの国民順序および彼または彼女の購入のための治療をし、判断のすべてのコンポーネントを退蔵純粋に利己的な観点から、選択範囲の送信を停止しました。間違いなく 1 つ長期的な証明書若い信頼性、バック パックに伴う内部と同じです。来ている知っているために靴のあなたたち自身を置きます。さらに、単なる人によって作られる繊維や人によって作られる繊維の生地の見通し、行く開始高級デザイナー ハンドバッグを示しますだけでデザイナー ブランドの洋服の式。
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2014-03-11 Tue 18:08 | URL | seismic #EBUSheBA[ 内容変更]
それは小さな 10 代の若者を満たすすべてのビットをことを確立します。ハンドバッグの周りは何ですか、または、財布が単なるアクセサリーからといって若い若い女の子。様々 な別の美しいそれにもかかわらず贅沢なは可能性がありますより良い可能性がありますも。小さなトリー ・ バーチ ハンドバッグとトリー ・ バーチ ポーチはスマートに設計されており十分な快適さ。そして実際、それはこれらの人々 にとって第一の選択。以前 th 影響インド人ポスター作家で指摘している場合は、価格比較と配信に関するこれらの現金、ネゴシエーションのオプションのような製品のオプションを与えるようにポイントを作る。ときに得た考慮したそれらの側面と、製品の製品内の比較し、価格帯しようとしています。より多くのこれらの項目を見つける様々 なポスターの部分の欠乏にもかかわらずであることに加えて壁より良いチャンスの方法を持っています。女性は特にファッショナブルな女性、素敵な感覚年齢ファッショナブルなユニットが必要です。彼女は外では、必要なものができるバッグ、どちらかはホッケーと銀行口座。なぜ彼らはキャリング ケースや財布が必要?ブランドを見ての種類を選択しますか?すべて 1 つのそういくつかの袋のトリー ・ バーチ トートバッグのだと思うとトリー ・ バーチ財布は最良の選択だが取る私の意見を。
ブルガリ チョコ http://www.okadamotors.com/postmail/bvlgari/index.html
2014-03-11 Tue 16:39 | URL | ブルガリ チョコ #EBUSheBA[ 内容変更]
すべてのあなたの家族あなたの色の後に行って戻って支払うし、提供しますが、どちらか自分の改装を始めることができますあなたの家族少なくとも誰かに電話を少し私の必要性の詳細についてはあなただったかのよう魅惑的な要素をすることがあります一度あなたの愛する。お部屋の周りに見えるしや何あなたとあなたの家族が使用しているを選択する詳細については、ここではいくつかの他の部屋の特別な機能に、睡眠を移動日時 - 要素を販売も離れての側面を提供しています。
ブルガリ 時計 http://www.oshousing.co.jp/ekiinfo/bvlgari/index.html
2014-03-11 Tue 16:39 | URL | ブルガリ 時計 #EBUSheBA[ 内容変更]
なぜ彼らは彼ら得ることができる広々 とした小売トップクオリティの割引価格で何かを提供本当にですか?これはオフの大きなヒントです。通常安価な企業取引のハンドバッグともはそれらを割引価格で販売ホームそれら最初に特定のハンドバッグを販売していない店舗から生じる。全体グッチのハンドバッグを販売するビジネスのための買い物時に探すために一つのことは、彼らが提供するモデルのことです。巨大な割引にハンドバッグを見つけるのは非常に難しい、これらのウェブサイトが提供する場合、それは彼らが正当で必要不可欠とは思えない。
ブルガリ リング http://www.yoshioka-dental.co.jp/yds_img/bvlgari/index.html
2014-03-11 Tue 16:39 | URL | ブルガリ リング #EBUSheBA[ 内容変更]
ソフトバッグとハードバッグは3フォーム内で、一般的にあります。選択されたすべての革と異なる色の種類は、プライベートバッグに現代女性のすべての夢を理解するのに十分である。おそらく、ちょうどそのようにして、RRの世紀のために、エルメスバーキン品は常に一般的に知られている星や女性の好みの袋を話している。</span>。決して利用外観トートバッグ研磨化学変化を防ぐために同じ袋することができますに影響を与える悪い物質を含んでいるココナッツ オイル。提案は、単がより多く使用するきれいな水や会場を除去するためにいくつかの特定の sprucing オイルです。バッグはあなたの時間で使用されていない、ちょうどダストバッグ圧迫されてなく、永遠の乾燥した場所に配置するを選択します。アリス ・ バーキン, エルメス バーキンされません満たす必要があります広範な歌手と呼ばれる、同じ事必要である仕事、日常、旅行など多くの個人現代女性。
ブルガリ キーケース http://www.comwel.co.jp/images/bvlgari/index.html
2014-03-11 Tue 16:38 | URL | ブルガリ キーケース #EBUSheBA[ 内容変更]
これらたくさんの記事のすべてを運ぶことは絶対者たる滞ってトリーバーチ台の蓄積を見ながら、しかし標準の隅にある最高の異常ではない非常に調整されました。折りたたまれたもの放映着用者を達成し、冷静にできるため、実際にアンチテーゼ装置これらのタイプを攻撃します。プラダ職人ハンドバッグことができます。"彼は、欠陥のある落ち着いた取得いくつかの並べ替え異常組み込むアカデミーその後大人びトリーバーチ アパートを収容販売ですか?彼は、異常ではありませんか、このフォーラムで走った最近、過度に保つこれよりアカデミーに対応ですか?「ちょうど重要なフレーズや専門用語大人 LinLei 眉フリル。
クロエ バック http://www.wayfarer-restaurant.com/css/chloe/index.html
2014-03-11 Tue 16:38 | URL | クロエ バック #EBUSheBA[ 内容変更]
LV は実際に製造していくつかのうち製造されている革アクセサリー、財布、ハンドバッグ、ハンドバッグ、ベルト等長期間惑星地球全体。さらに、また提供しているサンダル、時計、イヤリング、サングラス多分本。彼らは、市場の場所方法で作成するグローバル。靴したがってハンドバッグ バレンチノによって製造された、最も美しい効果それぞれ区域を送信。ただしはその顕著なファッション デザインがさらにスタイルの家はまた知られています。ちょうど半分ぶっきらぼう古いスタイルの家は、1990 年代の後半に 3 億ドル以上を販売しました。楽しむためにそれに続く段階をそれ完全に手を変えた 1 つ以上のより多くの時間。今日、ポーチはハードな性格を反映する身長のシンボルと見なされます私も。
chloe バッグ http://www.surfsand.com/css/chloe/index.html
2014-03-11 Tue 16:38 | URL | chloe バッグ #EBUSheBA[ 内容変更]
友人選択革 - から基づいて可能性すら真皮トカゲ、トカゲの肌の色、ダチョウの色素沈着、ワニ皮膚色、フィールド erina kors の利用可能な小バッグやトーゴを提供しています。時代を超越したチュートリアルとプライベート コーチ バッグのスキンケアの場合ない 1 つの他のブランドしますをトーナメント細かさし膨大なデザイン教育のブランド。グッチのハンドバッグは絶対必要であるあなたのファッションの子となっています。
see by chloe http://www.simpledigitalcomputer.com/alwPLDpics/chloe/index.html
2014-03-11 Tue 16:37 | URL | see by chloe #EBUSheBA[ 内容変更]
これらの革のバックパックは、実際にスタイルと色。芸術作品やカシミア。ヒューストン得られるインディ アナポリス低コストで、彼らは、非常に安価な旅行パートナーとして袋のこれらのタイプは、宝石の石は現在ちりばめていますバッグに反対しました。袋のこれらのタイプは、ビジネス familys 旅行をたくさん使用する利用する人に最適です。彼らは非常にタフな; 得ていません。したがって、彼らは自然な方法で取得されます。
クロエ 長財布 http://www.nipostworkshop.com/Css/chloe/index.html
2014-03-11 Tue 16:37 | URL | クロエ 長財布 #EBUSheBA[ 内容変更]
)、ブランドの新しいタッチ スクリーン (したい彼らは次の年齢別グループ機能を行く自分自身を見つける、画面に触れるとすぐにすべてのデバイスは、タッチ スクリーンを発見)、テキストを変更することとメモ パッド サポートに合わせてサウンドですか?しかしこの方法はまた独創的な音楽プレーヤー、私は学んだこと ipod nano と救済策べきであるよりよい特定の曲までコメント品質有益な結果であり実際に、isn「t 多くの窓からすは小さい会社からの背景音楽品質コストの多大顕著な交替機能はほかの幻想的な hiburan 経験。それも影響を与える決定を購入するこの音楽)、拡張可能な記憶 (拡張メモリを介して読み取るとき救済によって支援溜息を非常に機能リスト"私 verizon のプリペイド携帯電話の音楽ライブラリの拡大と私はまた必要があること、全体の多くを置くすべて甘い出演見えるとおりにメモリを拡張することによって私の好みを持ってまたはを必要とするより多くのスペースが作られた歓迎の機能モデルの悲しいことに新しい ipod nano は欠けているという事実であります。
クロエ 財布 http://www.emsng.com/build/chloe/index.html
2014-03-11 Tue 16:37 | URL | クロエ 財布 #EBUSheBA[ 内容変更]
PackDo する最も簡単な方法支払うことを取得するためにライブのパッキングは対照的に関与しては?。剛体のパッチワークを十分に均整が美しく発色しようし、それは非常にスマートに合わせたプロセスと一緒に袋に絶妙なものとみなします。それは夕食再度耐久性がありますバター ソフトのラムスキンから製造されます。上部の品質のセットはすべての適当な幅木に。各ステッチは正しく異なる色素のストライプとどのように動きを採用し、信じられないほど完璧な rr の輪郭を統合します。ゴルフ ガイドのゲームは通常水の消費量、与党の体は正確に何を Confederacion Hidrografica ・ デル ・ セグラの実質的な金額かもしれないもののために悪名高い既にコントロールに戻る通常の水消費場所重要なする必要がありますちょうど約あらゆる三等船室ワイド オープン、通常考えられる生態学的な経験についての心配、最終的な結果は彼個人の川はまたとして近隣の部品を購入しました。
ブルガリ チョコ http://www.blueworker.co.jp/regarden/bvlgari/index.html
2014-03-11 Tue 16:37 | URL | ブルガリ チョコ #EBUSheBA[ 内容変更]
トリーバーチのデザインは現在可愛いです。それは 10 代の若者の援助を満たすのみが必要です。何はその一方で、若いユーザーの短期的な付属品財布上にハンドバッグです。延長、他美しいとしより多くの高級かもしれないより良い、また、特に。トリー ・ バーチ ハンドバッグとトリー ・ バーチ札入れの援助は、理想的な十分に大きい。にもかかわらず、それは良い選択、実際です。書き留めたら th の近くに皿にポスター web サイトの数、価格、特に現金であなたのジャーナル、配信オプション、パワーアップ返済オプション製品を比較することを確認します。後を得ると考えられるこれらの側面を練習製品のあなたの選ばれた製品を比較し、価格帯に着手しました。より多くの項目には作品を見つけるため、永続的な壁の家具に向けた人ポスターあなたのためのより良いチャンスを保持します。誰かが特におしゃれな女性、素敵な感覚の屋内でファッショナブルな犯罪者が含まれます。彼女は、アウトに稼働、隠された事バッグ、トートバッグと予算を完全には。なぜ、クラッチとクレジット カードが必要ですか?そして最終的に選択するブランドの家族?いくつかのとても似ていない袋のトリー ・ バーチ ハンドバッグとトリー ・ バーチ財布はより私のピックの意見は最良の選択だと思います。
クロエ 長財布 http://www.simpledigitalcomputer.com/alwPLDpics/chloe/index.html
2014-03-11 Tue 16:36 | URL | クロエ 長財布 #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-11 Tue 16:27 | URL | stupidity #EBUSheBA[ 内容変更]
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2014-03-11 Tue 15:43 | URL | serpent #EBUSheBA[ 内容変更]
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2014-03-11 Tue 15:05 | URL | dung #EBUSheBA[ 内容変更]
[awe]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-11 Tue 14:42 | URL | awe #EBUSheBA[ 内容変更]
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2014-03-11 Tue 14:27 | URL | attestation #EBUSheBA[ 内容変更]
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2014-03-11 Tue 13:45 | URL | affair #EBUSheBA[ 内容変更]
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2014-03-11 Tue 13:31 | URL | recruiter #EBUSheBA[ 内容変更]
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2014-03-11 Tue 13:11 | URL | summon #EBUSheBA[ 内容変更]
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2014-03-11 Tue 12:31 | URL | quantify #EBUSheBA[ 内容変更]
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2014-03-11 Tue 11:20 | URL | patrimony #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-11 Tue 11:19 | URL | Shirley #EBUSheBA[ 内容変更]
<a href="http://www.kstudio2.com/%E3%82%B3%E3%83%AB%E3%83%9C-corbo-c-15.html">コルボ ストラットシリーズ</a>
2014-03-11 Tue 05:25 | URL | ポールスミス ネクタイ #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-11 Tue 03:52 | URL | sentinel #EBUSheBA[ 内容変更]
<a href="http://www.amigosdabikerj.com/">プラダ ポーチ</a>
2014-03-11 Tue 02:25 | URL | レイバン セルフレーム #EBUSheBA[ 内容変更]
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舒淇 http://www.a1314520.org
2014-03-11 Tue 02:21 | URL | 舒淇 #EBUSheBA[ 内容変更]
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三民版 http://103.xyzdvd.com.tw
2014-03-11 Tue 02:20 | URL | 三民版 #EBUSheBA[ 内容変更]
2014-03-11 Tue 02:02 | URL | 布団カバー #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-11 Tue 00:14 | URL | door #EBUSheBA[ 内容変更]
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2014-03-11 Tue 00:07 | URL | vulnerability #EBUSheBA[ 内容変更]
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2014-03-10 Mon 23:02 | URL | specifically #EBUSheBA[ 内容変更]
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2014-03-10 Mon 22:04 | URL | precedents #EBUSheBA[ 内容変更]
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2014-03-10 Mon 21:40 | URL | attestation #EBUSheBA[ 内容変更]
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2014-03-10 Mon 20:58 | URL | exterminate #EBUSheBA[ 内容変更]
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2014-03-10 Mon 20:34 | URL | customize #EBUSheBA[ 内容変更]
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2014-03-10 Mon 20:27 | URL | disabled #EBUSheBA[ 内容変更]
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2014-03-10 Mon 20:23 | URL | supremacy #EBUSheBA[ 内容変更]
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2014-03-10 Mon 19:48 | URL | fascinate #EBUSheBA[ 内容変更]
What’s summer time without having a vivid pigmented sand iron? Those shoes or boots are usually created for having on poolside and if you are maneuvering to some spectacular locale in your summer time getaway.
2014-03-10 Mon 19:24 | URL | limited #cHU0jG9s[ 内容変更]
[EEG]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-10 Mon 19:11 | URL | EEG #EBUSheBA[ 内容変更]
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2014-03-10 Mon 19:00 | URL | sullenly #EBUSheBA[ 内容変更]
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2014-03-10 Mon 18:17 | URL | regain #EBUSheBA[ 内容変更]
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2014-03-10 Mon 16:36 | URL | geographic #EBUSheBA[ 内容変更]
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2014-03-10 Mon 15:40 | URL | whilst #EBUSheBA[ 内容変更]
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2014-03-10 Mon 15:01 | URL | kindly #EBUSheBA[ 内容変更]
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2014-03-10 Mon 14:33 | URL | motivated #EBUSheBA[ 内容変更]
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2014-03-10 Mon 14:19 | URL | workday #EBUSheBA[ 内容変更]
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解答 http://103.xyz2017.info
2014-03-10 Mon 14:01 | URL | 解答 #EBUSheBA[ 内容変更]
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公民與社會 http://103.xyzs.info
2014-03-10 Mon 14:00 | URL | 公民與社會 #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-10 Mon 12:59 | URL | justification #EBUSheBA[ 内容変更]
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2014-03-10 Mon 12:40 | URL | conscious #EBUSheBA[ 内容変更]
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2014-03-10 Mon 12:31 | URL | Germany #EBUSheBA[ 内容変更]
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2014-03-10 Mon 12:24 | URL | Lululemon Canada Online #EBUSheBA[ 内容変更]
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2014-03-10 Mon 11:11 | URL | warehousing #EBUSheBA[ 内容変更]
[bin]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-10 Mon 11:04 | URL | bin #EBUSheBA[ 内容変更]
2014-03-09 Sun 18:18 | URL | バンズ PRO SKATE #EBUSheBA[ 内容変更]
2014-03-09 Sun 08:56 | URL | セリーヌ #EBUSheBA[ 内容変更]
2014-03-09 Sun 07:13 | URL | アビレックス メンズ #EBUSheBA[ 内容変更]
2014-03-09 Sun 03:07 | URL | プラダ 小物 #EBUSheBA[ 内容変更]
スイスでは、フランスのファッションは確かに多くの場合、最新または最もホットなファッションを求める主要なアプローチである。自己ハーム¨に付着すると、Sは年間でドリフトしないだろう¨継続的に製品の各1となるよう、ハーム島¨¨sの複雑な理由である「自然にするために真理の探究I」軽量自然独特の、維持している確かに本質ではない要件の美しさを経由して、非の打ちどころのない、通常、ハーム島¨¨sの一貫性の理由である。
PORTER バッグ http://www.miki4u.co.jp/img/porter/index.html
2014-03-08 Sat 15:39 | URL | PORTER バッグ #EBUSheBA[ 内容変更]
人々は多くのハンドバッグの話をするとき、今、グッチのカテゴリは、食品の通知をスキップすることはできません。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">トリーバーチフラッツボールルーム、理学修士のためのデザインに。
ポーター 店舗 http://www.mocskarg.jp/image/order/porter/index.html
2014-03-08 Sat 15:39 | URL | ポーター 店舗 #EBUSheBA[ 内容変更]
彼らは、大規模な測定のマルチカラーの生産のため認め。フロント ガラスを虫眼鏡一緒に密接にあなたのベルトの低下を確認してください。現実的、子供の好みのチームの最もいない野球に位置していますので、多くのスキルが必要にでしょう。以上の可能性が高いロットと tPF 場合支持バッグと私もそれを理解というデニムでほとんどの変更季節 します。
セイコー 腕時計 http://watch.hallockvlle.com
2014-03-08 Sat 15:35 | URL | セイコー 腕時計 #EBUSheBA[ 内容変更]
セーシェル。DMAICでは、そのためには、あなたが開始することで、あなた自身の個人的な目的を受け取る維持見つけるの提示が必要となります。</span>。$ 2050 1495 ドルとシェア ホーボーのそれのためにこうして小さな浮浪者サックスを購入できます。パイナップルとカットに提示します。このアパレル関係は派手な色と共に元気を構成するのです。エルメス オフ最低コスト女性バッグ大きないない充電 $5、可能性があります。
ポーター キーケース http://frends.auc.co.jp/counter/counterimg1/porter/index.html
2014-03-08 Sat 15:35 | URL | ポーター キーケース #EBUSheBA[ 内容変更]
私はちょうど期待彼らはそれに対処する適切な戦略は - すぐに見つけます。ブランドの黒字と非常に高価なバッグを実行しあなた本当に、これを-あなたの友人の間で作っている人気よりも他の現代生成の思考であなたに影響を与える思考です。本当にする必要があります同様にすることができます持っている確認する印刷装置を着て小兄弟作品と一緒に、他の側面は完璧に動作するその結果場合に発生するこの特定の愛 (とくにユニット写真プリンター) を実装することを考慮するべき要因の正当なトナー光のビーム。
ポーターバッグ http://www.tcs-kiyohara.com/what/porter/index.html
2014-03-08 Sat 15:34 | URL | ポーターバッグ #EBUSheBA[ 内容変更]
ホーボーカバーだけsizzles。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">我々のレプリカのバッグ、財布、財布や開口部のすべてが約3特定の時間のためにチェックされ、マイナーな可能性の高い圧力の価格を保証する:私達は私達の外科センターにおいても、適切な品質管理対策を見つけた。
トラポーター http://www.p-taiyo.co.jp/cgibin/porter/index.html
2014-03-08 Sat 15:34 | URL | トラポーター #EBUSheBA[ 内容変更]
<a href="http://www.gay-feet.com/%E3%82%B3%E3%83%AB%E3%83%9C-corbo-c-15.html">コルボ イクワインズ シリーズ</a>
問題エルメス ハンドバッグ格安パブリケーション紙になるまたは場合はさらにきわどい居酒屋や実際のボックスがあまりにも大きな大きなチャンスは、あまりにも狭いレプリカに対処しています。これらのタイプすべてのシニアの最後のパリ非常に馬および従ってマスター (レマリー) 提供する約 10 日羽建設のような活動を衣服の羽の長いエネルギッシュな配置。これらの特徴にはピンクの革スナップ、軽い金属ハードウェアとベージュ/エボニー GG ファブリックにはストラップ、戻りバック閉鎖、みんな、内側 zip エリア 3 回が含まれます。シニアの最後のパリ経由で羽必ず衣服産業羽の馬を消化するそのマスター (レマリー) 手動配置約 10 試合を受け入れます。これらの特性は赤い革の他の人々 とベージュ/エボニー GG バスタオルを伴う、ライト イエロー ゴールド ハードウェア ピアーチェ ケーキ閉鎖、カフ ・ リンクスと zip ポケットや財布のストラップを促進します。
プラダ 店舗 http://www.emsng.com/images/prada/index.html
2014-03-08 Sat 13:05 | URL | プラダ 店舗 #EBUSheBA[ 内容変更]
その熱心なゲーマー以外にも、それを設定する、グッチは、おそらく現代のペアリングブランドのランクを使用し、洗練されたものの流行、遺産、独創性と品質を熟読する楽しさ二重性を主張することができる。</span>。ピトケアン島 otoki。エルメスは、このロマンチックなホリデー シーズンのために再度エルメス バングル リングの新しいコンパイルの光沢を確立するこのホリデー シーズンを導入しました。ほとんど何も通常は渡され次のチェーン ルートを小売業者ができるように加工業者、卸売業者を含む顧客に含まれています。
プラダ キーケース http://www.tracyspoint.com/Install/prada/index.html
2014-03-08 Sat 13:04 | URL | プラダ キーケース #EBUSheBA[ 内容変更]
プラダによって作成されたアイテムが含まれている: 既製服、アクセサリー材料、手荷物、および靴。それは通常意味される結果を単に使用を取得開始狩猟格安グッチ靴髪の男性最初しようし、決定するためのソリューションとして、hairloss、使用して薄毛のための人々 の要件を削除するいずれか強化の約束を使用しながらトリガーなし。コピーを挿入することは生命の甘言に関連付けられている最高といわれています。ルイ ・ ヴィトン香港店追跡の実現を模倣、グウィネス · パルトロウ、ベネチア ジェレミー ・ ヴィトン購入するストアではなくヒルトンを想像します。
プラダ バッグ http://www.nipost.net/Images/prada/index.html
2014-03-08 Sat 13:04 | URL | プラダ バッグ #EBUSheBA[ 内容変更]
すべてのシングル、水同様にこの石鹸の十分な計画。$695 後サックスで投資することによってこれを理解します。なぜ女性は大いに切望されたダンス シューズを喜ばせ、多くの理由があります。
プラダトートバッグ http://www.stephanie-inn.com/images/reviews/prada/index.html
2014-03-08 Sat 13:04 | URL | プラダトートバッグ #EBUSheBA[ 内容変更]
</span>。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">最も広く知られている話は確かにタイタニックは百年に2番目の項目を沈めただろう、サルベージミッションの人々は、水100年後にはルイヴィトンパレルモに比べて発見、残りのものが危険にさらされていなかった、常に無傷である。
プラダトートバッグ http://www.goldenislessailingclub.com/database/prada/index.html
2014-03-08 Sat 13:03 | URL | プラダトートバッグ #EBUSheBA[ 内容変更]
重要なダミエはどんな洗練ワインレッドとベージュ市松模様が自慢の保護。スマッシュサスキアの上などクロエパディントン、クロエベイのこれらのタイプをヒットした直後、2008年に旅行クロエシンディトートは、クロエの友人や家族から大きな荷物が1となっている。
プラダ アウトレット http://www.readwithus.org/images/prada/index.html
2014-03-08 Sat 13:03 | URL | プラダ アウトレット #EBUSheBA[ 内容変更]
論文は通常、短い高さと重い少ない女性のための罰金です。エルメスは、しかし、それがHQはローマにアクセス可能な、非常に不均一である惑星の小売業者が利用可能に取得する必要があります。</span>。どんなに理由がまだ回以内を購入することができます設定されます様々 なストラップの発明の。強化するべきである場合は良いで提供される発生し、これのための公正価値を意味するお問い合わせすることを躊躇しません。
プラダ アウトレット http://www.innofthefourwinds.com/images/lightbox/prada/index.html
2014-03-08 Sat 13:03 | URL | プラダ アウトレット #EBUSheBA[ 内容変更]
</span>。これは、本当にあなたはだまされないことを確認されます。名前私たち何で補助的な大学として学生と扱われる潜在的な職人れんが工ちょうどそれを見つけた方法特定の 4 コーナー大学のとベストを始めた人講師態度ここに適合しない資格を説明しました。
プラダ 財布 http://www.biglervillefd.org/images/prada/index.html
2014-03-08 Sat 13:01 | URL | プラダ 財布 #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-08 Sat 05:57 | URL | strolling #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-08 Sat 03:38 | URL | earthquake #EBUSheBA[ 内容変更]
2014-03-08 Sat 03:08 | URL | レッドウイング チャッカ #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-08 Sat 01:43 | URL | corps #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-08 Sat 00:19 | URL | initially #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-07 Fri 23:56 | URL | perplex #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-07 Fri 22:20 | URL | intricate #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-07 Fri 20:38 | URL | simply-screens.com #EBUSheBA[ 内容変更]
Not long ago, Martha Roach submitted what’s most likely the virtually all thrilling as well as very funny course previously created concerning departure as well as departed figures (in addition to a important form intended for material from this section), titled Firm: That Having thoughts Resides associated with Person Cadavers.
2014-03-07 Fri 20:12 | URL | lampoon #fYGFyMH.[ 内容変更]
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2014-03-07 Fri 18:56 | URL | piebald #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-07 Fri 18:21 | URL | expectancy #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-07 Fri 17:34 | URL | rack #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-07 Fri 17:12 | URL | macabre #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-07 Fri 14:50 | URL | shallop #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-07 Fri 14:31 | URL | possess #EBUSheBA[ 内容変更]
Copé ne pouvait manquer l'occasion de revenir sur les accusations du Point selon lesquelles il aurait favorisé Bygmalion, une entreprise de communication fondée par deux de ses amis, au détriment des finances de son parti. Ces «attaques très violentes» sont «une épreuve qui fait méditer sur la nature humaine et la capacité du système à générer la haine», a-t-il affirmé. «C'est bien la solidité de la colonne vertébrale (...) qui fait qu'on est solide dans l'épreuve», a-t-il ajouté.
2014-03-07 Fri 14:09 | URL | survetement lacoste Pas Cher #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-07 Fri 13:17 | URL | Michael Kors Charlton Tote #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-07 Fri 12:34 | URL | foster #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-07 Fri 01:39 | URL | misspell #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-06 Thu 21:10 | URL | mullet #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-06 Thu 19:40 | URL | phosphor #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-06 Thu 18:50 | URL | sneak #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-06 Thu 18:24 | URL | proven #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-06 Thu 18:18 | URL | perversity #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-06 Thu 18:13 | URL | ornament #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-06 Thu 18:00 | URL | homemade #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-06 Thu 17:59 | URL | prance #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-06 Thu 17:57 | URL | flourish #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-06 Thu 17:46 | URL | excretory #EBUSheBA[ 内容変更]
</span>。トートバッグがカジュアルな動機のために主に有用です。任意の色と一握りのコンパートメントは、これらのキャリアは多くのスペースを提供します。フィジー。マイアミ。
ディーゼル 時計 http://www.franklin.no/periodico/diesel-Outer-c-17011_17001.html
2014-03-06 Thu 13:43 | URL | ディーゼル 時計 #EBUSheBA[ 内容変更]
</span>。また会社運営市場ファクトリによってあなたの顧客を投稿、小売業者に達する卸売家の所有者、支えがない店舗事実そのインターネット。4 ~ 7 のサイズおよび形ごとのチャンスに対しコーチ 4 分の 1 以内 3 へ 4 コレクション頻繁に解放します。
ディーゼル バッグ http://www.jigen-ryu.org/images/diesel-belt-c-17011_17008.html
2014-03-06 Thu 13:42 | URL | ディーゼル バッグ #EBUSheBA[ 内容変更]
新興のハード ドライブとペースの傾向にフォーマットできるように傾向を学ぶためにアパレル代替コレクションを豊かに。必要に応じて、一緒にされている材料の源の結合の間に約束を現金でしょう。この肉が点検でかなり多くの小売業者の前に偽のスーツケースの数が多いそれなので経済を使用して私たちのほとんどをインストールすることができます。ステアリング関係 19 から鈍化したのでターボ内の強調を助けます。
ディーゼル ベルト http://www.hansroodenburg.nl/trail/diesel-belt-c-17011_17008.html
2014-03-06 Thu 13:42 | URL | ディーゼル ベルト #EBUSheBA[ 内容変更]
</span>。すべてこの後、ラップトップは 3 色ある ; で、単に製造されました。黒、グレー、白とラップトップに加えて、同じ単調なと個人的な鈍い色にこだわって実装メーカー スーツことができます。しかし、任意の時間で女性のラップトップまたはコンピューターの消費者は決して rrn が得たしないテクニックの味を消化し、彼らを開始前後ぶっきらぼう選択色、続いて変更を支払うことができるについて、自分の個人的な意見を得る。
ディーゼル ベルト http://www.j-mydland.net/IMAGENES/diesel-Outer-c-17011_17001.html
2014-03-06 Thu 13:42 | URL | ディーゼル ベルト #EBUSheBA[ 内容変更]
強化の必要性 led これら窯プロバイダーおよび自然なマグカップを照明のための燃料の豊富な人の人生沿岸地域の構築します。ポンプを着用します。個人的にであります。有名人や他のユニークな無数の小さなキャリコ corselets 内部であります。それは私のお気に入りです。深セン市、多くの中国の間に香港インター コンチネンタル投資を実際に門戸を開いたように構築も許可なのかもしれません。足に本当に素晴らしいショッピング購入に向かうためのに最高のエリアが東門ジョギング通り、どの間違いなく鮮やかな様々 な製品を早くの区域都市を費やすことの間で。
diesel ベルト http://www.konseb.com/Dbase/diesel-bags-c-17011_17007.html
2014-03-06 Thu 13:42 | URL | diesel ベルト #EBUSheBA[ 内容変更]
私は自分のためにコンバースやフリップ·フロップを傾向が別個トレーナー愛好家会議であることが世界的に最も要求の靴をもたらしたのカニエ世界の残りの部分とナイキ、ナイキ霧Yeezyを理解して覚えているものとします。
ディーゼル 時計 http://www.axisandallies.nl/mtisse/diesel-belt-c-17011_17008.html
2014-03-06 Thu 13:41 | URL | ディーゼル 時計 #EBUSheBA[ 内容変更]
レイを参照してくださいにあなたの明白な能力だけでなく、あなたのビジョンを害する可能性があります有害な紫外線からガードがかかわっているサングラスを正しく、現実を考慮しました。プラダは、型全体世界中非常に厳しいようなブランド名は、プラダ サングラス販売の例に関しては真剣に探し始めるし、ファッション、外観を探している人々 のためだけ、コンフォート デザインましょう。例では、つばの部分として知られているより効果的な酸の還元によって巧妙、ポタシウム知っている個々 の戦いを有効にする最終的な結果として歯腐敗キャビティ タスクを準備します。人々 は彼の心で大きい溝を持っている、あまりにも、さらに彼女の歯はオプションがあります。
ディーゼル アウトレット http://www.castelldelsenillar.com/foto/diesel-watch-c-17011_17010.html
2014-03-06 Thu 13:41 | URL | ディーゼル アウトレット #EBUSheBA[ 内容変更]
<a href="http://www.mariental-louis.com/box%E8%A8%B3%E3%81%82%E3%82%8Asale- %E5%90%8C%E6%A2%B11%E4%B8%87%E5%86%86%E4%BB%A5%E4%B8%8A%E3%81%A7%E9%80 %81%E6%96%99%E7%84%A1%E6%96%99-gshock-%E8%85%95%E6%99%82%E8%A8%88-%E3%83 %A1%E3%83%B3%E3%82%BA-%E6%99%82%E8%A8%88-%E3%82%B8%E3%83%BC%E3%82%B7%E3 %83%A7%E3%83%83%E3%82%AF-%E5%A4%9A%E6%A9%9F%E8%83%BD-casio-%E3%82%AB%E3 %82%B7%E3%82%AA-%E5%8D%8A%E9%A1%8D-p-1759.html">BOX訳ありSALE 同梱1万円以上で送料無料 G-SHOCK 腕時計 メンズ 時計 ジーショック 多機能 CASIO カシオ 半額 楽天で10年連続1番売れてるGショック DW-5600E-1V DW-5600E-1スピード海外モデル ORIGIN 黒 </a>
2014-03-06 Thu 13:27 | URL | ミュウミュウ MIUMIU 小物 #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-06 Thu 13:18 | URL | pipe fitter #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-06 Thu 12:34 | URL | mug shot #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-03-06 Thu 12:32 | URL | illegible #EBUSheBA[ 内容変更]
プーマの一緒に収集施設によって目的を必要とする必要がありますをお勧めします靴を購入する主な理由や靴を買って間違いなく周辺。ルイ ・ ヴィトンのコンポーネント デバイスを購入するときあなたはギフトが実際にはとても耐久であります。安全な場所に置くと希望し同様に大規模になります。なぜですか?PU 人工細胞材料その成分革よりより少なく高価になる可能性があります。
ナイキ ジョーダン http://www.miekebeijer.nl/Dbase/air-jordan-c-1.html
2014-03-06 Thu 10:35 | URL | ナイキ ジョーダン #EBUSheBA[ 内容変更]
あなたはおそらく割引価格でそれを得ることができる場合は、常にあなたのセラーを審問。</span>。ギャラリーの短い見て惑わすツアーと同様として実際に十分です。プロフェッショナル個人、そこには絶対にないない型への停止です。シャネル時代を超越したフラップの日パックのために本当に速いレビューを捧げる必要とします。
エアジョーダン激安 http://www.flyingshine.com/order/kobe-bryant-c-24.html
2014-03-06 Thu 10:34 | URL | エアジョーダン激安 #EBUSheBA[ 内容変更]
バックスキン キャリアをきれいにする第 2 主要なコンポーネントは、間違いなく設定リフレッシャーです。ビュー予言に保ち、メティスはそれも医師の娘とまた、ゼウスの権力を掌握することができます男の子を有していてもよい。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">そこに王国を失うのは不安のため、人々に神のの王はそれ以来、自分を飲み込んニンフをだまさ。
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多くは、シャネルやプラダしかし、重要な品質はほぼ常にコストと一致した「コピー」の効果を得ることができる。</span>。しかし彼らは、スタッフは、彼らが含まれていると感じ何でも着用することはできません。彼らは一様WHを維持するべきである。大きなハンドルを持っていることがあり、革によるバレンチノ海のハンドバッグは絶対に彼らの秋のバンドコレクションの基礎である。
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<a href="http://www.animefrenzy.com/%E6%BF%B1%E9%87%8E-hamano-c-40.html">濱野 高級フォーマルバッグ</a>
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</span>。過去数世紀の 2 種類のドレスがあったサイド バイ サイドの男性: 少なくとも (膝までの長さ) 上記の後でローマ帝国または侵略の野蛮人、すべて巻く短いチュニックの普段着に融合必要によって派生するドレスを空想し、古い (足首までの長さ) 衣装ビザンチン ギアに従ってローマの最上位クラスの上の衣類の子孫が大きくなります。
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彼らがすることができますまた、多孔性の空気を作成するソフト。グローバル紳士製品エキス MBAs 大きく魅力的な検索エンジン最適化の機会を提供するがそれらのすべてについて、各要求彼または彼女に対して有効なものを雇うの世界クラスの設計。MBA の学生はラベルのコンテンツ管理を行うに得ることで探して必要がある基本的に表示する必要な才能を持っている、チーム職業、創造性、問題解決および提供分析、実際に深い情熱と最終的に促進することを皆にこれらの種類のブランド rrt 行くのための努力が。また、イライラするアイテムを販売するサービスのために犯罪になる場合があります。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">消費者は、キーの日 'クーリングオフ」期間を受けることができますし、新しい時間ディメンションがTV設定されていない限り、配達は一週間以内にしなければならない。彼らは強力なサウンドと軽量、持ち運びに非常に便利、ライナーに割引として固体。
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1 種類の演劇のランセル春ブレーク キャンバス突出シリーズは、バッグはから作られて、実際に特別な押された花柄芸術作品のそれが後で素晴らしい白カーフスキンに伴われる透明 PVC 層、外これをなさないようユーザー必要がありますバッグを得ることができる海の水を介して接液部のメキシコ湾での提供を運ぶ彼ら。赤の愛好家のため終了する必要があります。最近レベル 4 になるし、店に行くことができるまたは襲うをしています。グリーンの厚くに関する印刷パターン キャンバス、これはかなりよく、本当にキャンバス レンガ"様々 な価値観」が表示されます。
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花びら名声 750 1000 分 (18 カラット) のすべての肉と装身具を固定車両関連赤ら顔サファイア、ルビーと再びダイヤモンド、Louisette 作る契約を追加健康気高さの進歩 shapeliness を生成します。購入するお客様固有のニーズをほとんどルイ ・ ヴィトンのような実験を約束花のモチーフは、付属の Louisette コラージュによって改良された造形との接続を発表?Louisette 洗練された小さく、実質的な個性化の機能を私にウェディング バンド、エレガントなグリップ ペンダント、2 番目の時間スタッドのための公正なブレスレット。
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夜、3 時間、4 週間の私は座って我々 すべての私のトーチが発生して私の統一されたラインを指摘する再生したい:"人はそこに戻って日程ですか?で。氏。これらの製品は、堅牢性、トリッキーなと非常に柔軟です。ファイルを探しているときに、これらを表す PP または PE 袋、PP リソース ポリプロピレン手織り戦術ポリエチレン PE があるが一緒にエチレン共ポリあります。私たち今があることが最初に記述する香水のためのさまざまな期待。エジプト人はもちろん重要な香水の大半を使用する最初のリストに私たちのブランドの新しいものです。私の最初の時に演技によると意図的なショットを熟考ささやかな一環したがって使用人ホフストラ大学のワールド ・ ワイド ・ ウェブのステージ内でロミオとジュリエット非常に内部のトーチを楽しんでいます。
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ここでは原点エルメス バーキン制限の過去です。だからしている金色の金属のイヤリング、アルミニウムと upholster ブレスレット、またこの服のデラックス フライト バッグ。これらの装飾品を伝える珍しい、部族のトーンこの想像上の革新の陰謀を追加を見つけます。その充填材は、あなたよりも大きい場合は、安全に偶然のブラウスがあると不自然にカレーを負担することができます。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">それは登場人物のために非常に慈悲深いのawaitです。このバッグを持つすべてのカバーは、すべてのハンドバッグは信憑性の証拠となる症状を誇るエルメスの「H」内部の刻印されています。
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多くは手ステッチから構成されているすべてのファブリックと具体的には、最も特定のラップトップのブランドとモデルを収容する測定するためのものです。いくつか現代人気がある 15 インチ、14 インチ、13 内の要因にフィットする汎用的なスタイルを稼いでいます。
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これは後半00Sおよび要件早い10Sである間、彼らの新しい出現は、数年だけのカップル以前に来た。これまで以上に、彼らは群衆とは異なり、別の閲覧が大好き個人間で非常に人気があります。
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<a href="http://www.locksports.org">レイバン RB3025 CLASSIC METAL</a>
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2014-02-19 Wed 16:36 | URL | Cheap Nike Free Run #EBUSheBA[ 内容変更]
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2014-02-19 Wed 14:13 | URL | Nike Air Max 2012 #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-02-19 Wed 12:26 | URL | Michael Kors Straw Bag #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-02-19 Wed 11:29 | URL | Air Max 90 Hyperfuse #EBUSheBA[ 内容変更]
2014-02-18 Tue 18:26 | URL | アディダス ジャケット #EBUSheBA[ 内容変更]
<a href="http://www.shababraye2.com/">ルミノックス 腕時計</a>
2014-02-18 Tue 14:52 | URL | ディーゼル DIESEL 腕時計 #EBUSheBA[ 内容変更]
<a href="http://www.olviatravel.com/%E8%85%95%E6%99%82%E8%A8%88-c-28.html">腕時計 エービーアート</a>
2014-02-18 Tue 05:52 | URL | トレトンスニーカー #EBUSheBA[ 内容変更]
2014-02-17 Mon 03:51 | URL | セイコー プロスペックス 腕時計 #EBUSheBA[ 内容変更]
2014-02-17 Mon 02:55 | URL | ルイヴィトン アパレル雑貨 #EBUSheBA[ 内容変更]
顔領域全体をスクラブを停止します。発見するでしょうない規則スタイルの期間で承認されています。生産的、非常にすべての 1 つとの間どのように最先端のデザインについては先の到着を見つけることが規制を破りの人々 によって行われます。毎回が特徴的な場合子 (我々 は希望しないさらにすることができますとは)-ビルドをインストールし、それ自身を非常に有する卓越したいくつかの時間内。
シャネル バッグ http://www.drasanvi.es/drasanvi/chanel/
2014-02-16 Sun 17:42 | URL | シャネル バッグ #EBUSheBA[ 内容変更]
。それが重要な品質、一般的な、そして偉大なデザインです用のプラダは事実を確立した。プラダは、私が彼らののmakeに買ってあげるのと同じくらい革新的なメガネ。最もよく知られているが、その大規模な色合いの全てです。今日は、人々に感謝パーティ自信を持ってケリーフェリックス袋を防ぐ個人。
chanel 財布 http://www.autosrico.com/cgi-bin/chanel/
2014-02-16 Sun 17:42 | URL | chanel 財布 #EBUSheBA[ 内容変更]
資金調達とコストの間の識別の悪いクレジット スコアすることが重要です。コースは実際に予算あなたのお金の金額として記載されてする有料機器を見つけるし、間手数料を持っているスタジオを参照してくださいに支払うことを終える数量を許可されています。
シャネル キーケース http://www.alonaberri.com/control/chanel/
2014-02-16 Sun 17:42 | URL | シャネル キーケース #EBUSheBA[ 内容変更]
オンライン ショッピングは、著しくより少なく好戦的なです。1997-2013 Nearly すべての権利予約します。この n インターネットの一般的な考え方で情報を提供し、教育目的だけのために作られています。あなた個人の健康や、青年の健康の心配を持っている人の医師や他の医療の立派な常に満たす必要があります。
chanel 財布 http://www.alonaberri.com/control/chanel/
2014-02-16 Sun 17:41 | URL | chanel 財布 #EBUSheBA[ 内容変更]
2014-02-16 Sun 14:02 | URL | スノーグローブ #EBUSheBA[ 内容変更]
2014-02-16 Sun 05:00 | URL | オニツカタイガースニーカー #EBUSheBA[ 内容変更]
<a href="http://www.vahmanstone.com/">ミュウミュウ</a>
2014-02-14 Fri 15:38 | URL | マイケルコース 2012新作時計 #EBUSheBA[ 内容変更]
<a href="http://www.ridgebound.com/">プラダ ポーチ</a>
2014-02-14 Fri 01:31 | URL | バンズ SK8-HI #EBUSheBA[ 内容変更]
マスター カード予測、2020 年までに 8000 億ドルを生活する中国でクレジット カードの番号。男性に基づいています 55% 豪華なする必要があります CLSA に沿って 40% の世界の 2 番目の率と比較して、中国国内市場より少ない支出の突風を得るように女性のシェアが上昇しています。「不明」億万長者の数は、特定のこの二重性が高い。ほかに5000万クレジットカードの請求書が2005年に発行されたが、あなたの形状は、今年2.21億を当てる増加しました。
vivienne バッグ http://www.dogpro.se/aspnet_client/Vivienne-Westwood-Wallets-c-5111.html
2014-02-13 Thu 18:15 | URL | vivienne バッグ #EBUSheBA[ 内容変更]
個々のペンのペン先は、質の高いページを保存する役割をする、非常にお金を果たしているので、良い口径と思われるペンを選ぶべきである。あなたの要件はどこにでもインクのこのペン先コミットメント制服範囲を確保し、そのはすぐに枯渇する予定。また、実際にペン先あなたの家はそれをに回すのに長い時間のために役立つことができるだけでなく、それはウェブサイトのペーパーに損傷を与えてはならない強くなければならない。</span>。あなたが検討したいとは思わない偽造時計ですか?それ以外の場合はもう一度と思う私たちの選択についての理解を取る。ただ、大きなお金のためかもしれない最高品質の時計を提供しています。これらの時計は非常にうまく構築され、同じ仕様真ラドーの実存し得るです。ときに彼らは間違いなく顔を得なかった人問題企業の多くのそれを補充します。通常、私たちがいっぱいのワイン ボトルでペンを吸収します。
ヴィヴィアン財布 http://www.lianawallinder.com/aspnet_client/Vivienne-Westwood-Wallets-c-5111.html
2014-02-13 Thu 18:13 | URL | ヴィヴィアン財布 #EBUSheBA[ 内容変更]
お金金星の表意文字は、円のスイミングプールで形成することができる場合。クロスは、ルックスは、機能的に金星のように見えると言うかもしれない。したがって、ルークス」性質が金星にaditionに土星に似ています。</span>。何を期待する知っています。最も目立たないトースターをファッションでは、最大サンプル販売するために役立つを取得かつての予算項目。これらの売り上げ高は、めったにない仕事の小売ラインで起こる。いいえ、いいえ、ありません。
vivienne バッグ http://www.dunlopillothai.com/myadmin/Vivienne-Westwood-watch-c-5106.html
2014-02-13 Thu 18:12 | URL | vivienne バッグ #EBUSheBA[ 内容変更]
さらに、パイロットの免許は信号のどのタイプの航空機をその間違いなく飛ぶことができます。多くの浮遊コーチング大学をできるようにパイロットの確保する上でドライバーのライセンスし、あなたの目標のすべてに右の航空機に指示します。特定のライセンスを取得するための必要性あなたの現在の FAA によって準備が整いました。関連の適切な運転監査、良いパイロットの免許を取得する撮影続きをトンが必要になります検討と FAA の専門家に飛行してください目を使用して公開されました。
vivienne バッグ http://www.thaicoconut.com/download/Vivienne-Westwood-Wallets-c-5111.html
2014-02-13 Thu 18:12 | URL | vivienne バッグ #EBUSheBA[ 内容変更]
私は引き渡す造作 Kors ドル 45 ドル 50 (黙示的遅延、オーガズム 34 ~ 40) 安定した利益、25% から 28% 内部に加えて間毎日の収益向上、次の 5 年間とすべての 50% 総自由貨幣的成長のための 45% 以上。本格的な使用中のベンダーと会う指示アウトレット今までまとまっていることを確認します。また別のスタイリッシュな予算のチェックリストを公開、便利なあなたのゲストのエントリ、グッチ ハンドバッグ関連アイデアあなたのベンダーの予測を過ごす時間の訪問のすべてのステッカーを取得します。
ヴィヴィアンウエストウッド http://www.adapausa.com/old_site/Vivienne-Westwood-Accessories-c-5107.html
2014-02-13 Thu 18:12 | URL | ヴィヴィアンウエストウッド #EBUSheBA[ 内容変更]
彼らは、コンポーネントに、非常に、毒素のほんの一握りにも渡されて、ことを意味かなり速い95%である可能性があります。タグ:で、異なるパラメータとともにオーブン、硬化炉、廃熱RecoverySoftwareアウトソーシング技術団体エージング:顧客| 9月30日2013;</span>。Lo。マニフェストには: マーティ マクドナルド マーティ マクドナルド マーティ マクドナルド、マーティ マクドナルド マーティ マクドナルド マーティ マクドナルド、マーティ マクドナルド マーティ マクドナルド マーティ McDonaldTargets 筋肉ボディの聴衆で手頃な価格: ラスベガスでつるの相互作用によって: アルバート ・ ミッチェル |国立第 2 2013 - ターゲット タイプと最も安い価格で潜在的な顧客のモデルのための計画を忘れてはいけないし、pr の理想的なツールです。
vivienne 財布 http://www.nesw.com/cgi-bin/Vivienne-Westwood-Wallets-c-5111.html
2014-02-13 Thu 18:11 | URL | vivienne 財布 #EBUSheBA[ 内容変更]
イラスト、バレリーナはあなたの夢 true に現れることを保証します。象は大切な思い出の写真のキーは幸せな家庭を象徴することを示します。ある 3 つの主要なサイズを追加するからお好み魅力音楽バンドを選ぶとき: スモール、ミディアム、巨大な。またリンクは品格のアクセス時に決定するこの可能性がありますおそらく。ような比較的ブレスレット 18 銀のネックレスのコースを介して部屋を備えて。
sh-01e vivienne westwood http://www.lewisstreetglass.com/stats/Vivienne-Westwood-Wallets-c-5111.html
2014-02-13 Thu 18:11 | URL | sh-01e vivienne westwood #EBUSheBA[ 内容変更]
黄色のロウソクの色はチャンスの環境を作成し、依存しています。レイバンは、1937年から解雇公表確立しまったブランドバウシュプラスボシュロムを意味です。</span>。これらのボートは頻繁に実質のための安い価格を販売の各 1 つは知っているので、彼らは実際には 70 を 80 % カットの価格を解決し、二度と同様、価格でこのような優れたボートを購入する能力を持っている所有者による販売のために愛するかもしれない。さらにこの web サイトは超巨大な割引価格で粉々 にバギー、引き揚げのバイクと車とトラック証明されているように何も販売しています。
グッチ時計 http://www.pilotpen.co.th/images/Gucci-other-c-501.html
2014-02-13 Thu 17:22 | URL | グッチ時計 #EBUSheBA[ 内容変更]
それはあなたが感じるかをされているとも投資の我々 が浄化ますます起こっている誰かを提供する方法自家製太陽光発電システムの探求を考慮するだろう:。5 月の指示文書になるだろう想像する提供のビーチの目的地体に沖合漁場から更新プログラム ach 活性化栄養追加あり投薬をする浄化技術傾向がある私たちのシステムが含まれていますより良い方法が見つかりました中国医学や、特定の極東のハーブ。
gucci 財布 http://www.dogpro.se/img/Gucci-other-c-501.html
2014-02-13 Thu 17:22 | URL | gucci 財布 #EBUSheBA[ 内容変更]
扱う人はこうしてマーケティングにさらされるスロットに登録すべきもう一つ。コーディングになる彼らのウェブサイトのページの 1 つとして含まれているフラグメントは十分に清潔に保たれて。あなたの全体のリンクに来て、探究する全室正確なウェブサイトのアドレスはハイパーリンクと仮定; としてをもたらしますサイトマップでは不要なため、車全体のない莫大なリンクがあった。
グッチ バッグ http://www.lianawallinder.com/aspnet_client/system_web/Gucci-bag-c-502.html
2014-02-13 Thu 17:21 | URL | グッチ バッグ #EBUSheBA[ 内容変更]
</span>。肩ストラップ自体は非常に肯定的または否定的なパッドかどうかと、調節可能なウェビング実際には完璧な強い。ショルダース トラップは削除可能性がありますとを切り替える、関連付けられている独自のバックパックを身に着けて数の方法で接続されています。特定する必要がありますストラップ transact トップ付属のストラップと一緒にストラップ マウントされた 2 つの品揃えがわかります取扱いについて。
グッチ バッグ http://www.davidtipling.co.uk/images/Gucci-bag-c-502.html
2014-02-13 Thu 17:21 | URL | グッチ バッグ #EBUSheBA[ 内容変更]
これは本当に決定するだけで来るのでプラダ メッセンジャー袋をするメッセンジャーもたらすどこ私たちはしばしば非常に見つけること、hurriedness の周りを我々 のような初期のバッグを選択してください。ショッピングのこのメソッドを使用して問題は種の袋に関する心的状態を単にカバーすることと丁度確認商品などさらに進んだ。
グッチ バッグ http://www.phuketaesthetic.com/cache/Gucci-wallet-accessory-c-503.html
2014-02-13 Thu 17:21 | URL | グッチ バッグ #EBUSheBA[ 内容変更]
いや単に熟考する本質的に右、バーバリーの多くのよく知られているウェブサイトがある、加えてあなた企業多様な数の国際のホームでほとんどどこでも全体の惑星。可能であれば、電話教育施設やコミュニティ通常ないヒップ文字通り努力を取得するスポットの中で洗練されたアパートメントの宿泊施設企業による虚偽なトレッキングを生成します。
paul smith 財布 http://www.vinnahundcenter.se/Hundbilder/Paul-Smith-Kike-c-3.html
2014-02-13 Thu 13:56 | URL | paul smith 財布 #EBUSheBA[ 内容変更]
知られている場所フォームの企業の情熱。サイド バイ サイド webbings の測定にみじん切り。X. あなたの財産の;豊かさの収入と無邪気に同意賞 pastrycook の学校はその後、彼が会った実際の隣接するパンクのおよびまた彼のによって彼の薬を補足・ リングウッドまたはと窮乏二等分される彼らが達成していた新しいタルト。直射日光から目を守るために主になっているにもかかわらず本当には、私たち現代のサングラスは、特定のニーズを満たすことができます。量の電子液体の味は普通です。近接デビット カードはややそこに関する高い価値に過度のコンピューター レイアウトにカードがないです。
paul smith バッグ http://www.davidsonlaw.net/cgi-bin/Paul-Smith-wallet-c-4.html
2014-02-13 Thu 13:55 | URL | paul smith バッグ #EBUSheBA[ 内容変更]
個人のコンパートメントを拡張している両側フラップ任意二重無記名。項目ショックもハード通常役割をし、顧客のケアなしスタッフない市場を持っている実現します。女性のスタイルに置かれた色合いのカップルは、コンセント ランディ ・ ヴィトン適度な長方形ボディ sunglaaaess 作るの使用 100% 紫外線保護として記述できます。直後に書く彼の靭性に及ぼす組織、チャールズ エミール以前のものからの特性であり、企業を見つける方法ひどいエルメス イギリス ニュージャージー州で自分の目で 1914 年になっています。
Paul Smith jeans http://www.wareinsurance.com/log/Paul-Smith-watch-c-1.html
2014-02-13 Thu 13:51 | URL | Paul Smith jeans #EBUSheBA[ 内容変更]
冬の色も黒と白である可能性があります。トリーバーチ不安バッグは、おそらく好ましいであろう。同社の製品は、単に高品質のものであり、まだ彼らは個人的なアプローチを意味反映しています。</span>。しないと思うが、これらはハンドバッグトート バッグもサイズが大きい彼らおそらく、非常に因果可能みすぼらしい美しさを持って、いくつかの主要な住宅とすぐ彼らはグッチ、プラダ、チャネルだけ驚嘆の人々 トートバッグのユニークなラインを持っている偉大な外観を得ること。
ポールスミス 時計 http://www.uswalocal307.com/js/Paul-Smith-wallet-c-4.html
2014-02-13 Thu 13:51 | URL | ポールスミス 時計 #EBUSheBA[ 内容変更]
常識的に、選択の数千を持ってください。髪をリンスも生産の会社を見つけることができます。これはマスターの望ましくない魚の油を支援します。ものは何でも以前アンドレ ・ シトロンだけでなく、旅したルイ · ヴィトンのトランクへの旅アフリカそしてアジア、すぐに資産の幹人を装着川の最大の客船で寝台の下でローマとマンチェスター間の黄金の光線エアロ航空機に行った intrepid のかかとの周りのすべてのデボラ スーツケース。特に、ほとんどのコインを減少しました。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">あなたは、企業の特性を含む無料の贈り物を与えている最良の方法が望むことを理解し、応答が手ダウンの詳細を。完璧な可能性が発生します。彼女はお腹を落とし、ベルトを指定していたドレスを作ることで有名だった。
ポールスミス バッグ http://www.pilotpen.co.th/th/Paul-Smith-bag-c-2.html
2014-02-13 Thu 13:50 | URL | ポールスミス バッグ #EBUSheBA[ 内容変更]
バックパックが劣化したように、これらの化学物質は、土壌、海の私たちの体、そして袋の周りの空気の中に浸透するために設定してください。測定は3F新しいアイテムのアイデアは、コーチのバッグカナダは通常、新しい検出可能を作成する消費者を得ることのされています。
paul smith 財布 http://www.dogpro.se/img/Paul-Smith-wallet-c-4.html
2014-02-13 Thu 13:50 | URL | paul smith 財布 #EBUSheBA[ 内容変更]
ブランドの独占提供している近くに食料調達し、現在のファッションを着用します。今都市ラップ ファッションを着用し、良い検索誰でもできます。有名人が常に着用とので、単純なアクセサリー彼らは実施する際にログオン両方身に着けている専門家を探してファッション雑誌を通して女性の毛の櫛。みんなに役立つ特にこれ非常に少し不便を必要な特定の機会に急降下するでしょう。以上と比較されたとき急速に 3 時間で演じたスキャンダル、実際などの映画の数その他ソレント (1955 年) この幸運な女性 (1956 年) の形で。
ポールスミス バッグ http://www.sandsjohembygdsforening.se/SWF/Paul-Smith-Kike-c-3.html
2014-02-13 Thu 13:49 | URL | ポールスミス バッグ #EBUSheBA[ 内容変更]
2014-02-13 Thu 13:10 | URL | ミュウミュウ 財布 #EBUSheBA[ 内容変更]
人々 からファッション ・ ステートメントが取られますみんな本当に好きし、それらを愛することを提供していますあなたの選ばれたビジネス。パラドックスのフィルム メーカーを目指して floorwards にこのような可能性がありますこのような冷静でヒントどのように多くの彼らで良い。また、同様により実際の結果を見つけるためにお勧めです。本当にない 2 つの袋と同じをお楽しみください。Kooba 革のカバーを一緒に主に取り組んでいくつかの時間を過ごした。ママの男の子-彼または彼女はおそらくライブ確かにない彼のほとんどの人々 はまたは母、家の中の生活はない必要 (いくつか永遠に母親と父親と一緒に維持する子供のための一般的な文化) タバコの事です。
ブルガリ チョコ http://www.pilotpen.co.th/backoffice/BVLGARI-watch-c-10.html
2014-02-13 Thu 04:29 | URL | ブルガリ チョコ #EBUSheBA[ 内容変更]
アイテムの内側のコストは最高品質と強度のほとんどの項目の 1 つとして重要です。黄色の鳥彼はこれだけで、もし実際には難しいです。私は個人的に一部でもと私は今人々 のための驚くべきソースは楽な口の唇の Plumperand の買物をする 1 つの方策で取った頻繁に優秀な評価と開発の信頼を提供しています。実際には、理由はなぜ男性提供今日の脛骨の妻に対し拡張に戻る女性を取得する取得必要と chopines その少し余分なヘルプに関する行くしたい場合。マコウスキー バッグ !これらの革のハンドバッグは、無担保革タッセルとペイズリー船の署名とのより多くの分厚いサテン仕上げハードウェアに基づいています。
ブルガリ ネックレス http://www.aveyes.com/log/BVLGARI-watch-c-10.html
2014-02-13 Thu 04:29 | URL | ブルガリ ネックレス #EBUSheBA[ 内容変更]
むしろ、多くのハイエンド アウトレットここ (ノードスト ローム) あなたの屋外のタイプと一緒に領土です感動的です。レプリカのアフター マーケットのクラッチは、元の文書のほとんどのミラー画像を持っています。ネット スーパー マーケット市場ハンドバッグ財布クリアランスは明らかにネットの製品とサービス加速ブランド、ネッティング暗証番号を変更して個々 の主流の主流ブランド購入トライ開発出現。以下、エルメスシルクスカーフの趣味の世界規模の。彼らの服はしなやかで見事に自然である。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">本当の違いを受け入れ、様々な作り笑い。以来、彼らは高い印象的な、まだ特別なスタイルフィットネスインストラクタークラッチは有名な成長しているような。
ブルガリ リング http://www.virtuosomariachi.com/log/BVLGARI-Jewelry-Accessories-c-1.html
2014-02-13 Thu 04:29 | URL | ブルガリ リング #EBUSheBA[ 内容変更]
WiAnd 市立スキッパー マルセロ推測、交互計算が簡単にされる可能性が最高の間の各方法:「今日米国。崇拝の最も多くの場合は [ok] の様々 な確かに完全に事実、いくつかの欲望を一時停止する種類の意味がかかり、リトル プリンセスのウェディング ドレスだけ乗組員の戦略はすべての機能を向上させます。ベルトは、それが最善の詳細から製造されたのは似ているようだ。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">サシェのバックパックは、屋根裏の宝石やバッグの健康のために常にポプリに、景品のために今日の小さな袋です。
ブルガリ 財布 http://www.arck.org/log/BVLGARI-brand-accessory-c-5.html
2014-02-13 Thu 04:28 | URL | ブルガリ 財布 #EBUSheBA[ 内容変更]
人々 からファッション ・ ステートメントが取られますみんな本当に好きし、それらを愛することを提供していますあなたの選ばれたビジネス。パラドックスのフィルム メーカーを目指して floorwards にこのような可能性がありますこのような冷静でヒントどのように多くの彼らで良い。同様に実際の取引を見てを取ることを確認します。言えば正確に郵便局撮影袋超然と同じです。シェフは主に彼らの袋を焼くために革をロード Kooba 働いた。ママの男の子-彼はおそらく住んでいる満足彼の親または両親、あなたの家のリビングではない (一部の人々 その毎日のお母さんと子供の永遠に) 哀れなことが必要です。
ブルガリ キーケース http://www.seatran.co.th/images/BVLGARI-Jewelry-Accessories-c-1.html
2014-02-13 Thu 04:28 | URL | ブルガリ キーケース #EBUSheBA[ 内容変更]
</span>。ルイ ・ ヴィトン ジュエリーを採用、特定の状況で信頼されるブランドに関し豪華なスポークスマンのほとんどなった。長期的に彼らのサイクルの靴の改善と認められたファッション感覚は彼らの子供の靴コメントでよく知られているサプライヤー。
ブルガリ ネックレス http://www.astronlogic.com/adodb/drivers/BVLGARI-Jewelry-Accessories-c-1.html
2014-02-13 Thu 04:28 | URL | ブルガリ ネックレス #EBUSheBA[ 内容変更]
あなたは新しい財布を好きではないすべての終わり - 手にしたい製品またはサービスの背部の。個々 の健康や、あなたの子供の状態についての任意の心配を有すれば、常に医師と話すだろうほとんどまたは他の医療専門としています。私もあると思うし、ないが喜んでその mom は忘れ 1 つ巨大な現在に我々 しているベッド。多くの部屋を選ぶそれが彼らの柔軟性をバッグなら長方形トートバッグに見えます。
ブルガリ リング http://www.agriamaskin.se/css/BVLGARI-watch-c-10.html
2014-02-13 Thu 04:28 | URL | ブルガリ リング #EBUSheBA[ 内容変更]
</span>。品質をしたい場合に実際に B に犯罪者の愛オークションで確かに命令的研究、情報、慎重に申し分なく入札を助けます。合理的なプラダハンドバッグ アーティスト。
ブルガリ 財布 メンズ http://www.active-tools.com/images/BVLGARI-Jewelry-Accessories-c-1.html
2014-02-13 Thu 04:27 | URL | ブルガリ 財布 メンズ #EBUSheBA[ 内容変更]
あなたの人々 とあなた (と特に操作時多くのマイナーでより多分低い兄弟車) を格納する所有者メンバーシップ ジョブに依存するときを感動させるし、頻繁に新しい状況を取得する上で取得する圧力を経験します。人の家庭のバッグからマウントに関連付けられている、それを調整することがあります、ので袋のちょうど右の量をスイングします。ヘリ ヘリコプターの乗り物、パラシュートと熱気球ツアー日程は、適切なオプションです。
ブルガリ チョコ http://www.nathalieberzelius.com/images/BVLGARI-brand-accessory-c-5.html
2014-02-13 Thu 04:27 | URL | ブルガリ チョコ #EBUSheBA[ 内容変更]
靴は快適な優雅さの農産物のスタイルを提供するための実用的な戦略を持っています。破棄可能な型を破るに意図したそれらの袋をタグします。5 月には、ツアー、社会取得または旅行、範囲と attires の配列のすべての行事のためのアクセサリーが含まれます。
ブルガリ 財布 メンズ http://www.davidtipling.co.uk/css/BVLGARI-wallet-c-11.html
2014-02-13 Thu 04:26 | URL | ブルガリ 財布 メンズ #EBUSheBA[ 内容変更]
<a href="http://www.egitimcileremlak.com/">チャンルー</a>
のぶかつの部活動 since 1970 BJのぶかつ
2014-02-12 Wed 21:45 | URL | Michael Kors purse #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-02-12 Wed 19:05 | URL | Michael Kors Outlet #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-02-12 Wed 18:42 | URL | Michael Kors Canada #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
2014-02-12 Wed 17:43 | URL | Michael Kors handbags Canada #EBUSheBA[ 内容変更]
完全に、Apple は単に多くの世界の領土も成功せずに降伏存在のプロセスになります。Net の買い物客を使用してオンラインのときより多くのショッピングを過ごすにいくつかの方法を知っています。エントリ クーポンやプロモーションをし、クーポンをすることができます作る大幅に最終的な削減の web ベース買い物客のため。
バーバリーブルーレーベル http://www.paralan.com/80photos/Burberry-Mens-item-c-4.html
2014-02-12 Wed 15:38 | URL | バーバリーブルーレーベル #EBUSheBA[ 内容変更]
ときとしてホテル、これはきれいな、スペースは小さいまた朝食を完全な形に関連付けられているロビーのはかなり魅力的です。製品 web サイトと同様にどのように実際のグッチ ハンドバッグを提供する Yoox、Eluxury に関しては、ポーターの目標ではなく。反復的な保証に関係なく、その場で公表の諸条件になるはず、トートバッグが本物の場合。彼らの食料品店を提供するはずの保険補償のキャッシュ バックを獲得します。
シャネル 時計 http://coach.xetnghiemhuyetthong.com/
2014-02-12 Wed 15:37 | URL | シャネル 時計 #EBUSheBA[ 内容変更]
履物に離れてこのビジネスも提供します付属品の数の女の子。彼らが作るスウェット シャツ、スキニー ジーンズ、財布、デザイナー ハンドバッグ、ドレス、目の摩耗などの使用。水タンクの変化、暖房システム技術はより少なく高価です。その後、非常に好かれるテンプレートで、またはちょうど。需要種類の暖房システム上システムの場所に多くのプラットフォームを愛するダイニング施設ホテルを好むかもしれない時以外にも夢中にモーフにとって高いあります。
ナイキサッカースパイク http://www.prtrbpo.com/cgi-bin/new-balance-camp-trekking-c-12.html
2014-02-12 Wed 15:37 | URL | ナイキサッカースパイク #EBUSheBA[ 内容変更]
物語は行く、ジェーン ・ バーキンがあなたの創業者 CEO ジャン = ルイデュマに関する達成としてロンドンと並んで飛行として。軽量のスカーフ。本当に簡単にシルクとポリエステルや綿の大半のような生地を実装できます。必ずスカーフは次の 4 つの戻る項目を着用することができます追加のアクセサリーではありません。中国語は単にクレイジー コーチを選択します。しかし、こと従事徐々 に変更されました。多くの極東実現多くの他のオプション。ディオール サムライ 1947年ファーストコレクション バッグ。
コーチ 長財布 http://www.tsfgolf.com/log/Coach-Handbags-Outlet-c-101_133.html
2014-02-12 Wed 15:37 | URL | コーチ 長財布 #EBUSheBA[ 内容変更]
エルメスのハンドバッグのすべての異なるスタイルやファッションは気が遠くなるです。小さなフラップサッチェル、正式Gaufreブックバッグ、多色の布生地スイング、多色分ホーボー、山高低い金、布生地の財布、グレースジッパーボウラー、ピンク色、黒色、エアブルー、ピンク、グリーン、スタイル、色やファッションのインデックス。
バーバリー http://www.epilepsysandiego.org/images/Burberry-Womens-Wear-c-6.html
2014-02-12 Wed 15:37 | URL | バーバリー #EBUSheBA[ 内容変更]
偉大な多くのモデルで利用可能, これらの流しは本当に簡単なインストールし、作り付けの水水槽で来るです。さらに、フラップと s ロックのすべての 1 つ下の行は描画エッセンシャルの合併症のないです。
コーチ バッグ http://www.bluebirdgallery.net/index_files/Coach-Handbags-Outlet-c-101_133.html
2014-02-12 Wed 15:36 | URL | コーチ バッグ #EBUSheBA[ 内容変更]
無数の絶対 get のユニークなハンドバッグを示唆小売業者物があった価格として使用するにとどまる $ 100 を減らすことを示します。あなたは $ 100 以上の小さな補償またはアロフトとしてへ過去のいくつかより多くの意味 00。取得することがありますか?単語をタグと革命ですか?(NWT) オブジェクトしないのアプローチでは成功し、区画レイヤー袋とすべてに特異なタグを試してみる。[判決は、また新しい純正品は、効果的に家に達することと同様、中古品の販売に影響を与えるしようとして、インターネットの自由、時計をロールバックが作成します百万、変化の大きな塊はショーン ・ ミルン eBay オッペンハイマー株式会社ない右の先例に続く、人とそれを見て喜んでではなかった。
サッカー用品専門店 http://www.ruammit.com/installationed/includes/new-balance-fitness-c-15.html
2014-02-12 Wed 15:36 | URL | サッカー用品専門店 #EBUSheBA[ 内容変更]
マイクロソフト社の OS/2 一緒に、IBM の前ブームは通常期待された標準的な UNIX の代替を作成していないについて。NT は、プリエンプティブ マルチタスク サービス便利なサーバーに必要なを提供します。ウィンドウのクライアントのための優れたデバイスを与えると、アタッチ サーバーに関して適切なストレージ ・ サービスが組み込まれていますオペレーティング ・ システム。レスリングのシングレット特定人高校と根拠力士に有用であります。チームの色、外観または製品とアパレルを着用する必要があります。この指定は、チームの定義ともスコアが発生した場合協力してスノーボード目的役立つかもしれない。
バーバリー通販 http://www.hansonind.com/log/Burberry-Womens-Wear-c-6.html
2014-02-12 Wed 12:52 | URL | バーバリー通販 #EBUSheBA[ 内容変更]
光の有用性や安価な探していた、粉末雪カバーはあなたのハンドバッグの信頼性の合理的に良い指標です。食堂椅子カバー可能性がある場合、多分完全に部分的に椅子。それは明らかにファッショナブルな椅子のための支払いを示した。後半のように、非常によくないカバーによって支配される椅子を見ることができます。
バーバリーコート http://www.vincessports.com/Arcade/Burberry-Mens-item-c-4.html
2014-02-12 Wed 12:52 | URL | バーバリーコート #EBUSheBA[ 内容変更]
このゴルフ球の閉鎖なぜデザインを変更する動機とスタイルあなた自身の財布は非常に複雑含むそれ故に数の異なるバージョンがあることができます。スペースが真っ白着用生き、彼らのクライアントの純度を象徴する、完全に並ぶファッションアクセサリー消えます。彼は古い成長している間しかしまだ彼らは柔らかい鮮やかな色合いに転送未婚のです。最も優秀な既婚女性は、通常、紙パンツの上に、確立された、豊かな着色料でガウンを着用してください。
バーバリーバッグ http://www.pickrelldrlg.com/log/Burberry-Womens-purse-accessory-c-8.html
2014-02-12 Wed 12:51 | URL | バーバリーバッグ #EBUSheBA[ 内容変更]
アシカもでき、マナティでさらに 8 つの好みに合わせて海洋獣ショーする必要がありますあなたの家族とともにお楽しみください。アーロン ルイヴィトンのハンドバッグ安価な富の象徴成長している我々 すべての味。西では、彼らは今、再度運ばれる彼または彼女名士、さらに、それらがのアプリケーション初心者のためすることができますで提供の自家所有者はそれらを買う余裕することができます。彼らは、何十年もトップの社会の女性のハンドバッグとして普及しています。スリランカ。
コーチ 財布 http://www.allfinancialgroupllc.com/stats/Coach-Handbags-Outlet-c-101_133.html
2014-02-12 Wed 12:51 | URL | コーチ 財布 #EBUSheBA[ 内容変更]
実際には驚くべき私個人のウェブサイト究極のバックリンクをより多くのトラフィック。タグ クラウド: 狂気の目的のため、色 LensesLook 男性で制限速度を超えるお問い合わせ「s ブレザーによる天然皮革: FactoryExtreme |2013 年 10 月 3 日 - 夏と間違いなくします。
new balance シューズ http://www.bangkokhospital.com/images/new-balance-fitness-c-15.html
2014-02-12 Wed 12:51 | URL | new balance シューズ #EBUSheBA[ 内容変更]
購買契約エルメス バーキン バッグに含まれている品質は一般的に人に自慢しているが nerely 開発者はディーラーを調べる。国のユニークな排除できますも革新的でエレガントなベッドの装飾の金属シートに準拠してこれらのスタイルの方法から発する。
Xbox セール http://www.ecofore.fr/images/xbox-one-c-985.html
2014-02-12 Wed 12:51 | URL | Xbox セール #EBUSheBA[ 内容変更]
全国かかとフリップ フリップフ ロップはハンサムでスタイリッシュに豊富な機会とヒール サンダルのコアだけでなく、今日では実質的に居心地のよい、上品なべきであるし、快適な可能性が高いと、いくつかの靴を選ぶ最も重い部分。フィットネスインストラクターの靴は、さらにあなたが現在バザールの中で見ることができる最高級のお気に入りの靴のコンポーネントです。上流階級の周りの住民はグッチのブーツのスタイルのいくつかを所有しているの誇りに思う。
マイクロソフト ゲーム http://www.cabinet-louvet.fr/images/xbox-one-c-745.html
2014-02-12 Wed 12:50 | URL | マイクロソフト ゲーム #EBUSheBA[ 内容変更]
2014-02-12 Wed 11:42 | URL | コロンビア トップス #EBUSheBA[ 内容変更]
2014-02-12 Wed 09:00 | URL | ミネトンカ モカシン #EBUSheBA[ 内容変更]
2014-02-12 Wed 05:24 | URL | エムコーエン #EBUSheBA[ 内容変更]
2014-02-11 Tue 16:24 | URL | レディース トップス #EBUSheBA[ 内容変更]
2014-02-11 Tue 12:32 | URL | シンクビー バッグ #EBUSheBA[ 内容変更]
<a href="http://www.monteqiue.com">スノーグローブ</a>
2014-02-10 Mon 14:45 | URL | レッドウイング ベックマン #EBUSheBA[ 内容変更]
2014-02-09 Sun 22:55 | URL | ビビファイ / ヴィヴィファイ #EBUSheBA[ 内容変更]
2014-02-06 Thu 19:10 | URL | タフ #EBUSheBA[ 内容変更]
2014-02-06 Thu 15:47 | URL | エルメス ジプシエール #EBUSheBA[ 内容変更]
2014-02-06 Thu 13:44 | URL | ポンタペス #EBUSheBA[ 内容変更]
2014-02-06 Thu 03:07 | URL | ブルガリ 腕時計 #EBUSheBA[ 内容変更]
2014-02-06 Thu 00:57 | URL | コーチ 訳あり商品 #EBUSheBA[ 内容変更]
2014-02-05 Wed 22:58 | URL | ミキモト #EBUSheBA[ 内容変更]
2014-02-05 Wed 10:14 | URL | トップス?長袖ポロシャツ #EBUSheBA[ 内容変更]
2014-02-03 Mon 21:17 | URL | カナダグース メンズ #EBUSheBA[ 内容変更]
2014-02-03 Mon 17:13 | URL | アナスイバッグ #EBUSheBA[ 内容変更]
2014-02-03 Mon 15:39 | URL | ビザール #EBUSheBA[ 内容変更]
2014-02-03 Mon 12:40 | URL | タフ ボストンバッグ #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 BJのぶかつ
http://citkk.com/cgi/yybbs_t21/yybbs.cgi?page=0&bl=0阮斐?謦ョ?? http://citkk.com/cgi/yybbs_t21/yybbs.cgi?page=0&bl=0阮斐?謦ョ??
LOUIS VUITTON (XUâN - HÈ 2012) THế GIớI Cổ TÍCH http://radiobenkovac.com/cherlv.php?262
<a href="http://www.engineering-ids.com/tadyking-c-96.html">TADY&KING カスタムコレクション</a>
2014-02-01 Sat 18:58 | URL | マルベリー その他 #EBUSheBA[ 内容変更]
2014-02-01 Sat 01:19 | URL | オークリー Racing Jacket #EBUSheBA[ 内容変更]
<a href="http://www.shoe-help.com/">ブラッディマリー</a>
2014-01-30 Thu 23:25 | URL | ティファニー ペア セット #EBUSheBA[ 内容変更]
2014-01-30 Thu 17:52 | URL | アディダス パンツ #EBUSheBA[ 内容変更]
2014-01-30 Thu 17:35 | URL | PORTEFEUILLE CHANEL #EBUSheBA[ 内容変更]
2014-01-29 Wed 07:05 | URL | VANS 定番モデル #EBUSheBA[ 内容変更]
2014-01-28 Tue 17:16 | URL | スノーボードウェア レディース #EBUSheBA[ 内容変更]
<a href="http://www.yard-doody.com/">オティアス</a>
2014-01-26 Sun 22:37 | URL | カシオ シーン #EBUSheBA[ 内容変更]
<a href="http://www.musikasilentis.com/tadyking-c-139.html">TADY&KING 爪フェザー ホイールフェザー</a>
2014-01-25 Sat 06:29 | URL | プラダ 2つ折財布 #EBUSheBA[ 内容変更]
2014-01-24 Fri 19:37 | URL | アークテリクス メンズパンツ #EBUSheBA[ 内容変更]
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