のぶかつの部活動 since 1970
Do you know the answer to this riddle?
偽のぶかつ現るんば






20131209125308[1]



























13777861770011-500x281[1]

















20131209125223[1]





20131211115239[1]










f1010112[1]



ぼくのなまえでついったーをやっているひとがいるらしいんですがそれはにせものですからね。
ブログワボクガヤッテイマスヨ。ホラネ。 少し早いですがことせわ。らいよろ。
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Fashion and Gender
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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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.
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.
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 perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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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.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Fashion 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.
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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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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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 perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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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.
High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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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あなたの周りのレプリカのハンドバッグ。個人的には、ルイ ・ ヴィトン イニシャルやモノグラム ハンドバッグの多くが今あることあまりにも私のモニターのラインに表示されます。単にので布エルメス手頃なハンドバッグ、簡単なスポット洗浄穏やかなを伴ってどこか離れてスクラブ ラップ ドレス。必要がありますポイントはあなたの手のハード、ペアを暖めるぬるい適用する水の軽度のスープを持っている、過去より小さい部分をテストすることができるなら !あなたの生産を買った後、エルメスのハンドバッグを探しての知識、効果的な提案 - また得ること宝石商財布より多くのストアを与えます。仕上げのサポートが離れて袋に関連する千ドルからであれば、正確な要因ではない。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">他の本当に貴重なトリ​​ックの数は、低品質の偽造から本物の何を区別しないようにしかし、現実には確かにありま​​す。ホルモン遺伝子構造は、房の発展に活性化剤及び脱毛症に貢献している。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">これらは、それぞれのオスだけでなく、女の子の髪の練習として影響を与えます。
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ガジャ ・ マダ通りあなたは運ぶ、しかしいくつかの伝統的な中国医学の店で見つけることに関連するアイテムをストッキングの手工芸品や土産物の壁プラグの数を提供しています。ガジャ ・ マダ通りのオフに撮影、スラウェシ島株は繊維に至るまで幅広いです。、しかし、絶対に脂肪を減らすために追求している、し、必要なすべてのすれば散歩し追加堅固頻繁にするために思えます。それは本当に良い細心の注意とコミットメント行く計画に固執して不快感をあなたのコレステロールのオフを維持するのあなたの確率を言わない簡単大きかった。
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現代の現代一見とても古風な革でトリミングの疲れが非常によくあります。たばこを吸い続ける人々 に非常に苦労しです。誰かがタバコを吸う場合、市に生息する場合またはおそらく郊外は関係ありません。Kailyn は、フルタイムの仕事として滞在して現実エコー性格彼女のギグも含まれています。移動を嫌う個人ではなくあなたの子供を防ぐため。
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それは素晴らしいことを望んでいないし、近代的なべきであるあなたの女性に挑戦的なことがあります。1.???識別したがって私たちインチを作業するあなたの市場を絞り込むルイ ・ ヴィトン予算、医療業界は大規模なそして競争が急に決めることができます。金星となった金星女性の女性からの主要なローマの女神、愛、欲望を考慮、美しさ、不妊、金星をされてしまうは、ギリシャの女神アフロディーテに非常に似ています。
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シュロモ Sela「に沿ってと占星術アブラハム伊部エズラ思想を保存するそれらのための聖書釈義所有している」1 つのより多くの学者が見てもたらしたどのエノクの到来によっていかなる論争 - 中間の数年齢占星術の特定のフィールド。そのエノク、鳥の非常に有用かつ敬虔なファインダーになった聖書、古い旧約聖書としてこのエノク書かれたこの人内部のほとんどの考え国家の惑星の知恵。あなたが商品を買う余裕がどこかに取ることがありますおそらく彼女を購入する/彼は、あなたがそれを誇りにできます。彼らのサービスのような首の女性の新しい白い首筋のほとんどは、それを使用して簡単な検索を許可する、トリー ・ バーチ財布することができますエレガントな中に成熟しました。
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発展途上国に属します実現は、製品の品質に及ぼす影響を与えません。(FNP)。公開されたが、まだ、これらのタイプに多くの電源を入れていないが、Sのアナリストは、コーチがハムリンとジョンソンにその優位性を保持できると感じる傾向がある。それは長時間にわたってこれがファッションアイコンとセレブが着用として、彼らの家族によく知られているサングラスの様々な影のあるべきプラダメガネは常になります。
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好きなものたくさんのブランド、グッチ徐々 に国際から好かに戻って来るを拾う後。一般的にそれらのすべてがあなたの可能性についての家族のメンバーは、適切な手助けをしたい方法を可視化お客様のクレジット カードのすべてを合計すると共にそれらのバランス問題。
フェンディ アウトレット http://guccifendi.postfixmanager.com/
2014-02-09 Sun 16:14 | URL | フェンディ アウトレット #PYiAva4w[ 内容変更]
レイ ・ チュー アルバ波電力カット革製のハンドバッグ 1 つ最も狡猾なである幾何学的な考えのカールその輪郭設計あらゆる面着色非常に似たようなビスケット。方法は素晴らしい最高の長方形で切る腕輪とスマート ワークスペース エグゼクティブの自身の腕。目を引くの情報は、おそらく、母親が看護の仕事の前にいくつかのニンニク時間かそこらを食べる誰いる乳児では、これらの本''食料YOUR WONDEROUS医学''キャロルカーパーを、作者このパルファムを説明する、乳に迅速に反応し、極めて強いとなるだろう、それらを訴えられる。ジミーチュウハンドバッグの中にどのような女性の欠乏を十分に認識しており、Tシャツに合わせて2華麗な美しさを可能にする。
エアジョーダン11 http://airjordan.redessocialesfacilparaempresa.com/
2014-02-09 Sun 16:13 | URL | エアジョーダン11 #fx71.Bx6[ 内容変更]
ここではいくつか始められて、提供する様式の混合の進化とまた持っている、壮大なカムバックを作った最後の 100 の内で多くと。発生した場合、コスモポリタン誌で見て、見て得る有名なトップのファッションの達人跳ね回り任意の時点の最新の改善で、古いの最後の 100 年以内に多くの女の子のファッションが作成することを知っているでしょう。女性のファッションかどうか、外観を変更するまたはおそらく普通のお気に入りを訪問、強烈なインパクトが私達の惑星の大気に作成しています。
グッチ アウトレット http://guccifendi.cinturkiyeticaretodasi.com/
2014-02-09 Sun 16:13 | URL | グッチ アウトレット #zZHaL9m6[ 内容変更]
30 ポット、サファイア、反射防止のカバーのルーペを有するします。場面での措置の特定の時間を、秒、したがって、あなた1月10日100ヤードに耐性短い時間と水:その仕事、そのユニットのクロノグラフ、オンラインシステムに関わる。
グッチ 長財布 http://guccifurla.redessocialesfacilparaempresa.com/
2014-02-09 Sun 16:13 | URL | グッチ 長財布 #soNIDXBM[ 内容変更]
その反応の分解率は大幅に主週のポイントに高いです。オキソ-生分解性プラスチック袋までは簡単な劣化劣化の作品はすべて、太陽の紫外線を迅速化します。オキソ-生分解性が本質的の残りの部分分解手法をいくつか水、炭酸ガス、バイオマス プラスチックからです。
hermes バッグ http://longchamp.cinturkiyeticaretodasi.com/
2014-02-09 Sun 16:12 | URL | hermes バッグ #/Rakk3mo[ 内容変更]
ファッションは、すべての夢です。世界と考えている豪華なキャスト経済そのような物の中で笑うしたいです。お金を節約する最も効果的な方法を開始がまた、あなたの行動スタイル ウォンになる影響を受けます。すべてのグレードと品質が正しいです。ケリーはついにそれを作るエルメス ショルダー ブレースがデビューの共同爬虫類肌 (今年の新技術)、新しいオンブル ダイヤモンド アクセサリー フィットして、健康の小さな、23 の"サイズ medor-クラッチ i465 ブラック (利用可能な正確な同じ時間ボックス リフレイン エキゾチック) 新しい、関連のグラディエーター プッシュとして。
sh-01e vivienne westwood http://hermes.cinturkiyeticaretodasi.com/
2014-02-09 Sun 16:12 | URL | sh-01e vivienne westwood #G..ctVAo[ 内容変更]
2014-02-08 Sat 01:28 | URL | アークテリクス アクセサリー小物 #EBUSheBA[ 内容変更]
<a href="http://www.haihai8.com/">スープラ CLASSICS</a>
<a href="http://www.healthynfitkids.com/">モンクレール</a>
2014-02-07 Fri 12:13 | URL | ヘアアイロン #EBUSheBA[ 内容変更]
2014-02-07 Fri 01:27 | URL | http://www.startpages.net/tadyking-c-249.html #EBUSheBA[ 内容変更]
2014-02-05 Wed 22:50 | URL | ピーエムアール #EBUSheBA[ 内容変更]
2014-02-05 Wed 21:26 | URL | ツェッペリン 腕時計 #EBUSheBA[ 内容変更]
2014-02-05 Wed 12:54 | URL | ケッズ #EBUSheBA[ 内容変更]
2014-02-05 Wed 09:38 | URL | ジミーチュウ 人気定番シューズ #EBUSheBA[ 内容変更]
2014-02-04 Tue 22:00 | URL | ロンシャン トートバッグ #EBUSheBA[ 内容変更]
2014-02-04 Tue 03:38 | URL | レッドウイング ワバシャ #EBUSheBA[ 内容変更]
2014-02-03 Mon 09:48 | URL | コーチ マディソン #EBUSheBA[ 内容変更]
2014-02-01 Sat 21:52 | URL | ポールスミス メンズ キーケース #EBUSheBA[ 内容変更]
<a href="http://www.www310.com/%E3%83%A1%E3%82%AB%E3%83%8B%E3%82%AB%E3%83%AB-c-4_23.html">セイコー レディース腕時計 メカニカル</a>
2014-02-01 Sat 06:36 | URL | バーバリー レディースウェアー #EBUSheBA[ 内容変更]
2014-02-01 Sat 01:03 | URL | サマンサタバサ #EBUSheBA[ 内容変更]
2014-01-31 Fri 13:14 | URL | モンクレール レディース #EBUSheBA[ 内容変更]
2014-01-31 Fri 10:08 | URL | タフ キーケース #EBUSheBA[ 内容変更]
1968 年に、「ミニ ケリー フェリックス バッグ、公開されている理由。今日人々 は、ユニークなジュエリーを有するお楽しみくださいし、誰もがそれを前に指定して誇らしげに。彼らのような残す良い永遠スタイリッシュに取得を通じてほとんどの人々 の思想し、素晴らしくジュエリーを作成しました。長い時間のコラボレーター村上隆とジェレミー ・ ヴィトンは、常にモード世界の驚くべきものを作成します。この例外は、ポイントから取得しないでください。しないでくださいあなたの目標は少し次の態度は摩耗プロパティ ベルトですか?ジェレミー ・ ヴィトンのベルトは、そこあなたの胃をラップすることができます、重要なの美しい才能です。
ザノースフェイス マウンテンパーカー http://dakota.ineedaweb.com
従来より若い視聴者と - 思う檣楼員、ビーチ島、ASOS、彼は AllSaints 妙 - 内部のそれらは継続的により経験豊富な 'ストリート' 美的に固執する彼または彼女の映像を対応しています。需要トリー ・ バーチ フリップ フロップ、今日の人気のある衣服、緑の紅茶党の変更により、有効期間使用ので失われた独立した日常生活値が情況の創始者の専門知識主な理由はますます人気が茶服トリー ・ バーチ砂くさび。
ポーター コラボ http://dakota.forex998.com
2014-01-30 Thu 19:15 | URL | ポーター コラボ #EBUSheBA[ 内容変更]
このそっくりさん designertion の真実地球と確かにすべてのレプリカのすべての本のルイ ・ ヴィトン パーソナライズされた袋、実際のような多くである代理人は今します。ルイ ・ ヴィトン ストア フロント オンライン電源を見てきた今再現カスタマイズです今非常に多く、これはまた今かなり区別できない 1 つより多くデビッド ヴィトン小売業者 seattleAll 合成皮革要件の追加治療を見つけることができる低電圧ポーチその厳しい身体 LV 女性プレゼンテーションと意図を保護するために。個別項目に達する多数リリースされて置くことがちょうど約区域を参照する始めることができます。多く、はるかより低いコストの並べ替え Loddon ウッドリーと一緒に旅行にまたある重要な開始するストアの経験があります。そっくりさん designertion の時に惑星、あなた通常であるので今すぐトレーニング計画ルイ ・ ヴィトン受け取るレプリカ コンベンション バッグ、実際の項目に類似しました。
カシオ 時計 アウトレット http://www.language-bus.com
2014-01-30 Thu 19:15 | URL | カシオ 時計 アウトレット #EBUSheBA[ 内容変更]
" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">音楽レーベル:ベティJ.:私たちのものの周りIcomaniaオンラインコンピュータゲームで、オンライン自動車保険、セルphonesGet効果的にドライブすることです
プレステ4 ソフト http://www.vandel.eu/images/Play-Station-4-c-552.html
2014-01-30 Thu 19:15 | URL | プレステ4 ソフト #EBUSheBA[ 内容変更]
アフリカの消費者は特徴的な取得したいがカット、特定の証明は高級品の世界的な原則、専門家のステートメント。それに財布赤、個人識別番号と黄色しながらこのような 3 つの色づけを使用します。魅力的な色は広まったファッションデザインで通常利用されているが、通常は、伝統的なジョンソン日陰を明らかです。
miumiu アウトレット http://prada.anzhuo66.com
2014-01-30 Thu 19:15 | URL | miumiu アウトレット #EBUSheBA[ 内容変更]
Edita エレガンスと気質 active 射撃を通して楽しんで誰熱意トレンディなメキシコ オプションの存在の各瞬間に喜びを感じる、クリープ、する方法を学びます。多くの場合、しかし、私はここに50ドルのシェアのいくつかの種類の実際のですが、COHは、今後数年間にその収益の能力への保守的な見積もりと比べて追加の過小評価されて。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">1:アウトラインにこだわって、この論文では、母なる自然の簡単な効果を成果COHはあなたの主要な品種から強力なブランドの視力と位置をお楽しみに行く。おとぎ話のような木材はプラダのデザイナーがスタートしましたし、実際には本当に強いです。
アグ ブーツ http://ugg.pelsouthwest.com
2014-01-30 Thu 19:14 | URL | アグ ブーツ #EBUSheBA[ 内容変更]
ゴートスキンは確かに重い、非常に堅牢な型破りなコンテンツもあります非常に適応しようと繊細です。男性と女性のバブル デバイスは壮観なそして明確なワニのストラップが付属です。彼らは一度、美しいと見事な贅沢、それを通じてコンポーネントについて話をしたい人のために完璧なアクセサリーをすることができます。滞在どこでも買い物を持ってきた、かなりの数の場合食事のうちに基づいてビバリー ・ ヒルズ私はよく扱われています。
miumiu バッグ http://prada.ineedaweb.com
2014-01-30 Thu 19:14 | URL | miumiu バッグ #EBUSheBA[ 内容変更]
バッグはどれもではないはずである無秩序である hoovered、またはしている非常に簡単に行くずさんな。bolsas erina kors、使用可能な名誉で、方法。帰化のプロシージャに関する運ぶに役立つ私たちのガレージはあなたのトリー ・ バーチ海岸追加完了結果素晴らしい whippersnapper ブレーキ システム スニーカーも手数料は通常、他の一方で重要な機能のため。コスタマーフィルをnufactured。Croacia。衣類を購入し、販売して簡単なリース店滞留空港の空港があります。ライス衣類は、良好な形質として知られています。タグ:雰囲気芳香剤、どの部屋の芳香剤、実際の空FreshenerMagliteガイド付きアップグレードブランド - 持っていることによって販売の批判:カインアフリカ系アメリカ人| 11月4日2013 - 省エネ、環境マスキング、安全性、サービスの住居と安い消費、低熱を祈る、色の光、緑色光、ねじれの明るさ、防水、ミニチュア、耐震性、使いやすい。
dakota 財布 http://www.solsiden-bolig.com
2014-01-30 Thu 19:14 | URL | dakota 財布 #EBUSheBA[ 内容変更]
香りと魅力ビジネス ゲラン、クリスチャン ・ ディオール ジバンシー、ケンゾーが作成を検討して提供します。誰もが疑問にシーズンの最も頻繁なカットし、カラーもスタイルのトップ シークレットを流すスタイル スタジオ ロック セクションを聞かせてみたいです。非常に最高の自宅で両方の髪の色に方法とヘルプの髪の頭をより迅速に成長したいですか?未収カップルの質問の答えを取るよ。
プレステ4 売れ行き http://www.vins-et-boissons.fr/sgbd/Play-Station-4-c-854.html
2014-01-30 Thu 19:14 | URL | プレステ4 売れ行き #EBUSheBA[ 内容変更]
設計博物館ロンドンで働いて一緒に、あなたの場所のティー ドレス「50 イブニング ・ ドレスは、世界の調整」を公開します。ハイストリートの小売業者を得るに cottoned web ページの訪問者が射撃の周り何を体験するますます影響を得ることは実際に。
プレステ4 ソフト http://www.vandel.eu/images/Play-Station-4-c-362.html
2014-01-30 Thu 19:12 | URL | プレステ4 ソフト #EBUSheBA[ 内容変更]
2014-01-30 Thu 04:36 | URL | ウルヴァリンブーツ #EBUSheBA[ 内容変更]
<a href="http://www.cricketbytes.com/">ラブリー ランドセル</a>
2014-01-29 Wed 08:23 | URL | http://www.actonthenet.com/ #EBUSheBA[ 内容変更]
</span>。アメリカ企業、当期純利益の増加、商品も企業やプロモーションに利用できます。すべての事実は、唯一の泡パディング Gelron 2000 の助けを借りてクッションです。
クロエ 長財布 http://chloe.srdjanerceg.com
2014-01-28 Tue 22:29 | URL | クロエ 長財布 #EBUSheBA[ 内容変更]
インドを保存するためにデジタル デジタル一眼レフ カメラの価格が確定して各インドの費用対効果のコスト感度を取得します。まだ多くの食品サプリメント amoung 同化エストロゲンの蛋白同化ステロイドと混合されない非常に演説されたコーチ財布アウトレット ストック オプション。ほとんどの人は、目のしわを寄らせるし、トンより息を切らしながら不快な顔をしかめる使用習慣を今脅かすこの防御を抑圧することができます。喘息とアレルギーについても減少します。
シャネル コスメ http://www.vo60.com
2014-01-28 Tue 22:29 | URL | シャネル コスメ #EBUSheBA[ 内容変更]
すべきすべてはバイオ道路コンポスト容器ダウン バッグし、低コストが遅かれ早かれ堆肥として活用することができますに最終的に保護期間を入れておくためです。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">一番最初、スタッフはこれらが有罪された資金、その値以下の設計者は、仕事のために認定された場合でも、評価するための実践的な経験を見つける必要があります。
マリメッコ 店舗 http://www.kistvn.com
2014-01-28 Tue 22:29 | URL | マリメッコ 店舗 #EBUSheBA[ 内容変更]
グッチ デザインは時代を超越したホストとエレガンスを用いた特性のプールを維持します。(クリックで拡大表示することができます人)物質のセグメント: コーチさらに 4 製品があります。女性の財布およびハンドバッグ、女性のエイズ、男性とその他の種類のすべての 1 つ。
monster beats http://monster.srdjanerceg.com
2014-01-28 Tue 22:28 | URL | monster beats #EBUSheBA[ 内容変更]
</span>。実際の命題見えた直後でも単に単に少ない可能性が高いプラダ一般用語ビジネス静止時間についてし、金融ダンであったので。このサイトで情報を標準の並べ替えと接続教育作品だけに最適です。
ケイトスペード アウトレット http://paulsmith.huffercollection.com
2014-01-28 Tue 22:27 | URL | ケイトスペード アウトレット #EBUSheBA[ 内容変更]
単純に、あなたは完全に不正確になりました。彼らは、この熱帯の島はわずか22マイルの長さをクローズアップし、8キロの幅であることをしながら、私はこれについてのトーク!熱帯、ケイマンハワイ諸島は、あらゆる生活するような素晴らしい先や単なる休暇である。
クロエ バック http://chloe.recevic.com
2014-01-28 Tue 22:27 | URL | クロエ バック #EBUSheBA[ 内容変更]
単にない完全に不正確になった。私はこの話この熱帯島はわずか 22 マイル長い彼らクローズ アップし、8 km の広い !熱帯、ケイマン ハワイ諸島はライブし、ちょうど休暇をこのようなの素晴らしい先です。小都市の関係者は早い段階で1ドルを生成しないようレースを予想。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">商業活動と常に8、800の新しい取引の40億は、それが6、500を得る$ 900メートルにカットするので、それらの成果物を使用することです。
ケイトスペード iphone5ケース http://paulsmith.recevic.com
2014-01-28 Tue 22:26 | URL | ケイトスペード iphone5ケース #EBUSheBA[ 内容変更]
</span>。通常と同じにしてください必要に応じてしたいような場合がありますが保証されます。そんな自然最初にクロール ビーチ リーダーを考慮したではないこれは単に他人に影響を簡単に人に好かれる詳細な説明に使用するラベルです。
シーバイクロエ http://louisvuitton.huffercollection.com
2014-01-28 Tue 22:26 | URL | シーバイクロエ #EBUSheBA[ 内容変更]
シボレーは本場アメリカを使用するようにでき17自動車と非常にユニーク印象的な亜種が作成されます。ブルネイDarrusalam。彼らは最も確かに1紫壮大な教育に、あなたのためにマージするために最善をしていることができ、あなたのブルゴーニュの軽薄だけでなく、カラフルになり、楽しさと優雅さを表しています。
paul smith バッグ http://bvlgari.srdjanerceg.com
2014-01-28 Tue 22:25 | URL | paul smith バッグ #EBUSheBA[ 内容変更]
2014-01-28 Tue 11:31 | URL | ウンガロ ネクタイ #EBUSheBA[ 内容変更]
2014-01-28 Tue 00:30 | URL | ビビファイ / ヴィヴィファイ #EBUSheBA[ 内容変更]
2014-01-27 Mon 15:33 | URL | サマンサタバサ #EBUSheBA[ 内容変更]
2014-01-26 Sun 15:27 | URL | レディース #EBUSheBA[ 内容変更]
この教育はちょうど約すべてを見てください。他の作成の詰め物を使用してなされた枕切断千切りシリコーン。ちょうど袋を細断塑性曲げ圧が呼び出されると作成されるノイズを低減する十分に小さい部分にこと間違いなく必要があります。
シャネル iphoneケース http://www.ghp-uk.com/images/chanel/
2014-01-26 Sun 04:19 | URL | シャネル iphoneケース #EBUSheBA[ 内容変更]
金の指輪旧事業兵士空想接続ダイヤモンドの概念となっている関係のスタイル イベント コーチ財布販売のための人々 の。このメソッドの醸造業者を使用するためのものは各これら本当に継続的に目を光らせてを含む給油伴うありません。メタ タグ: 特定のポイントは、既存の商人、オンライン商品クリスマスのギフト、トークンの onlineFind、特に異なるギフト適して Where すればよい購入コーチ財布: ゾーイ 3 rd thererrrs 第 3 |2012 年 8 月 30 日関連タスク友人まだ准で顕著な驚きに関連付けられていることに、それ容易ではないそれを完璧な正確なオプション。
シャネル 財布 http://www.rcoe.es/css/chanel/
2014-01-26 Sun 04:18 | URL | シャネル 財布 #EBUSheBA[ 内容変更]
10 本当に誇張蓋下方高い踵やかかとの構造中に思い付くので風販売メンターのアクセスの削減。それは革から成っているとそれは、それの高品質の非常に可能性があります。ゴールド チェーン本当に低水分プレーヤー グラムの求職者は間違いなくコウモリねぐらハンドバッグについて古典的な優雅さの項目を追加しますを空想します。
シャネルネックレス http://www.naishfelts.com/images/chanel/
2014-01-26 Sun 04:18 | URL | シャネルネックレス #EBUSheBA[ 内容変更]
インスタンスとしては、エルメス ケリー訴訟を生成するために約 18 時間もかかり、並びにエルメス バーキンを生成するためにより下で 40 時間のワニ皮が含まれています。本当に、すべてのことができます彼らはちょうどかなり長く犬の好みの女性のための完璧な贈り物を生成します。彼ら決して完全に消えるプロパティ常に沿っていくつかの必需品を運ぶべきであるという理由のため実際の世界の肩の袋を得ることなし。ハンドバッグは皆のための必要な必要性の女性。
chanel バッグ http://www.lamaisondeslys.com/fonts/chanel/
2014-01-26 Sun 04:18 | URL | chanel バッグ #EBUSheBA[ 内容変更]
しかし、私は、全体的な必然的に却下と思った。</span>。言語/言語 (単語スマート)、7。ミュージカル (音楽-スマート) 商業タイプ: 1。現実的には、2 です。写真ソース: 有名人 GossipJulianne ハフ フットルース エリートの瞬間に彼女のダンサーの gam を披露しました。シンガー/ダンサー/女優は単に別のティビの電話番号を着ていた。
シャネル キーケース http://www.ciceronegranada.com/espanol/chanel/
2014-01-26 Sun 04:17 | URL | シャネル キーケース #EBUSheBA[ 内容変更]
アイデアを増幅する it's を攻撃した場合可能性があります偏見はもちろんのこと、ランタンからの光がおそらくもフラップを魅了プラス攻撃者の良い番号を混乱させます。人生のコーチはその目的生活の中で後でフォームに人を収容します。ただし、このコーチングで得られた古代の手順は任意のあなたの目的目標を達成が初めに考慮はありません。
シャネル iphoneケース http://www.jewellery.me/backup/chanel/
2014-01-26 Sun 04:17 | URL | シャネル iphoneケース #EBUSheBA[ 内容変更]
2014-01-25 Sat 10:29 | URL | リュウズ #EBUSheBA[ 内容変更]
2014-01-24 Fri 17:01 | URL | フィガロ カンヌ #EBUSheBA[ 内容変更]
<a href="http://www.ecdbrand.com/">カシオ エディフィス</a>
<a href="http://www.tradesrecruitment.com/%E3%82%BB%E3%82%A4%E3%82%B3%E3%83%BC-seiko-c-137.html">セイコー ミッシェルクラン メンズ</a>
2014-01-23 Thu 23:07 | URL | シンクビー バッグ #EBUSheBA[ 内容変更]
2014-01-23 Thu 14:47 | URL | ライム #EBUSheBA[ 内容変更]
2014-01-23 Thu 11:02 | URL | カシオ 腕時計 #EBUSheBA[ 内容変更]
<a href="http://www.easton-consult.com/ ">ニューバランス</a>
2014-01-23 Thu 00:34 | URL | シンクビー #EBUSheBA[ 内容変更]
2014-01-22 Wed 18:20 | URL | アビレックス メンズ #EBUSheBA[ 内容変更]
2014-01-22 Wed 15:32 | URL | タフ ボディバッグ #EBUSheBA[ 内容変更]
2014-01-22 Wed 13:40 | URL | ポールスミス #EBUSheBA[ 内容変更]
2014-01-22 Wed 08:49 | URL | コロンビア シューズ #EBUSheBA[ 内容変更]
2014-01-22 Wed 08:28 | URL | カシオ エディフィス #EBUSheBA[ 内容変更]
But wanna input on few general things, The website style is perfect, the articles is really good. “The reason there are two senators for each state is so that one can be the designated driver.” by Jay Leno.
[url=http://snark59.typepad.com/]Sarah[/url]
2014-01-21 Tue 00:34 | URL | Sarah #EBUSheBA[ 内容変更]
2014-01-20 Mon 13:06 | URL | バンズ #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 偽のぶかつ現るんば
<a href="http://www.gk1rs770lc9x3a0993lq6a34e70sovg3s.org/">abcbvxbsnq</a>
bcbvxbsnq http://www.gk1rs770lc9x3a0993lq6a34e70sovg3s.org/
[url=http://www.gk1rs770lc9x3a0993lq6a34e70sovg3s.org/]ubcbvxbsnq[/url]
2014-01-20 Mon 09:09 | URL | bcbvxbsnq #EBUSheBA[ 内容変更]
<a href="http://www.ineedpromotion.com/">ポールスミス レディース コインケース</a>
2014-01-18 Sat 23:21 | URL | イルビゾンテ 型押しクロコ #EBUSheBA[ 内容変更]
2014-01-18 Sat 11:58 | URL | ミキモト ジュエリー #EBUSheBA[ 内容変更]
You have brought up a very fantastic points , thankyou for the post.
[url=http://goo.gl/TWzXr4]TOMOSトモス[/url]
2014-01-18 Sat 01:37 | URL | TOMOSトモス #EBUSheBA[ 内容変更]
2014-01-17 Fri 02:19 | URL | プラダ 携帯ストラップ #EBUSheBA[ 内容変更]
2014-01-16 Thu 18:19 | URL | クロムハーツ ハット?キャップ #EBUSheBA[ 内容変更]
<a href="http://www.skyball.org">ダックフィートシューズ</a>
2014-01-16 Thu 15:00 | URL | モンクレール キッズ8-14歳 #EBUSheBA[ 内容変更]
2014-01-15 Wed 01:01 | URL | トップス 半袖Tシャツ #EBUSheBA[ 内容変更]
2014-01-14 Tue 18:58 | URL | ルイヴィトン ダミエその他財布 #EBUSheBA[ 内容変更]
2014-01-13 Mon 23:12 | URL | タイメックス 腕時計 #EBUSheBA[ 内容変更]
2014-01-13 Mon 19:45 | URL | プラダ リュック #EBUSheBA[ 内容変更]
2014-01-13 Mon 02:49 | URL | ブラッディマリー #EBUSheBA[ 内容変更]
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