のぶかつの部活動 since 1970
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2b60e381880e02eb9e6c9cd6162c0ec5_400[1]



二足歩行をおこない、主に米を主食とするが雑食である。

他の大型類人猿と同様に道具を使いこなすことができる上、火を使用することが確認されている。

また、屈強な男たちが固い肌色の棒を手で握りしめ力強く速く振り、

白いものを柵より遠くに飛ばして点を入れるスポーツにも巧みである。[1]

また、原始的な言語も使用することができるものの、文字を使うことはできない。

数式を用いた問題を与えると、回答はできないものの大地をボード代わりに初歩的な演算を試行する。

しかし、筆を用いての情報・表現能力は現代の人類の水準を大きく上回っている。


外見上は体毛が退化しているため、むしろ我々現生人類にちかい。

しかし嗅覚は犬以上に勝れており、女子アナの履いたスリッパを匂いだけで

見事に当てられるほどである。


2012年、かねてより杉本氏と親交のあった歴史学の権威・森田一義氏を訪ね、

類人猿(残存していないものも含む)で初めてとなる整形手術を行ったことを発表するだけして姿を消した。











imagesCARKEHVK.jpg


このことから、ルックスを気にするナルシシストな一面を持つ個体だということが推察されており、

また同時に「わざわざ歴史学者の下に史上初の出来事を報告しに行ったのではないか」という

推測も学会で生まれ、現在もなお物議を醸している。















16923320[1]



種の保存の観点から少なくとも複数の個体が存在するはずであるが、

20世紀末に大阪民国で一体が確認されただけである。[2]

異説











20071006155633[1]


壁画の技法を有することから高い知能を持ち合わせていると思われる。

このため一部の学者からは類人猿ではなく新種の旧人ではないのかとった意見が出ているが少数派である。

また、天然の名に相応しい、まさに神が与え給うたとしか思えないリアクション能力は

人間のお笑い芸人に勝ると評価されていた。杉本氏の他にも、松本氏、北野氏ら

行動観察学の権威らにも同個体の野性的な感応力は絶賛されていた。

さらに驚くことに、杉本氏の半年に及ぶ研究観察・助成の結果、

同個体は自動車の運転操作も可能になったとのこと。


そのため、同個体は我々人類の想像を遥かに凌ぐ学習能力を有することが分かる。


「類人猿が車の運転などできるか」とバカにしていた学者達の鼻を空かすことができ、

杉本氏もさぞ歯が、いや鼻が高いことであろう。












1_20110225193049[1]


事件

杉本氏による研究開始以前、走行中の快速列車を線路上で一身を挺し押しとめたことがあったが、

当時は「類人猿発見」と騒ぎたてられパニックが生じることを避けるため、

「少年が線路上に転落したため、快速列車が緊急停止」と情報操作された。







133483204849950[1]

1994年、テレビ番組の企画中エアガンで狙撃される事件が発生している。

同個体が希少種であるが故に路上にいる時がチャンスとばかり捕獲せんと

犯人が行動を起こしたものと思われる。前述の通り、現在までに確認されているのは一体のみであり、

希少種が失われる危機に犯人の捜索のため警察が乗り出す事態となった。

また、同個体が運行中の列車で止める程の身体能力を有するが故に油断し

、軽微なものであった警備も、この一件をきっかけに見直されることとなった。

2010年末、カンチョクト夫婦に飼育されていることが確認されたものの、

石破茂が接触した際にカンチョクト夫婦が仮面夫婦であることが判明、大きな話題となった。

脚注
1.^ 但し、固い肌色の棒を用いて白いものを飛ばしたり、

白いものを反射的にキャッチできるものの、

戦術・サインなどの高度な理論は理解不可能とのこと。


2.^ 21世紀初頭に日本のテレビ番組で同種のものと

思われる映像が流されたが、おそらく同一個体と考えられる。

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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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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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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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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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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At this juncture I feel it is important to clarify some fundamental differences in the Reggio Emilia approach to learning and teaching and that which is in place in Northern Ireland. One basic difference is the fact that art is centrally placed in the Reggio curriculum, as is demonstrated for example by the resident artist in each school, mentioned above. I have been impressed by the vision Loris Malaguzzi and the founders of the Reggio Emilia pre school teaching approach have shown in recognising the learning potential that arise from giving children the opportunity to develop their graphic languages (Edwards, Gandini and Forman, 1998). This in keeping with Dewey s demand (cited in Lim, 2004) for what he describes as an arts based curriculum , as a central element promoting, encouraging and providing a source for learning. In Northern Ireland on the other hand, although now identified as one of six key areas of learning in the curriculum, I believe that art is still sidelined in deference to literacy and numeracy. What the designers of the new curriculum for Northern Ireland have failed to recognise are the valuable opportunities for cross curricular development and learning, including of course literacy and numeracy, which arise quite naturally out of art activities. As Lilian Katz observes
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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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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間接的な標準はマルチファインダー問題に付属しているマルチ メディア オプションの一貫した使用としてユーザーを与えることができます。とはいえ、そこ少なく難しい次日 2011年春スニーカーに変わります。高トップ スニーカー Calceli ポンプのより多くのスタイルではありません。表面によって多くはない専門家のロゴ、靴、インター G 詳細カラー、裏地を含めます。環境に関するすべてのセンターを持つ床はしばしば短時間額縁で特に発生しやすいポップアップ ブティックには大文字、小さなローカル グラフィック アーティストにスペース - 最高の露出を得るし、トラクション優遇ザラのローカル標準作成者スペースの使用はまだシドニー購入シーン上にある別の歓迎を作成します。関係なくが以下の複雑な変化シナリオ 2011年春時間スニーカー。高トップ スニーカーは Calceli 新しいサンダルの形態すべてより多くではありません。多くの設計がない状態の表面にロゴ、靴、インターロッ キング g 詳細は本当に輝いて、襟、ライニング。中心は通常短い時間フレームのための適応のポップアップ ブティックに小さいローカル創造的なデザイナーのような空間どこから床に進歩を取得し、トラクション以降ローカル偏見のない作成者もザラのチェックを提供する素晴らしい方法だ場合でも、歓迎シドニーに最適なシーンを選択します。それにもかかわらず、2011年春スニーカー中はるかに複雑な変更があります。ハイカット スニーカーいない任意よりスタイルです Calceli コーチ。あるインター G 詳細上の靴の用語来るあなた非常にライニングから襟で表面で多くのインストラクター ロゴする必要があります。中心は通常短い時間フレームのための適応のポップアップ ブティックに小さいローカル創造的なデザイナーのような空間どこから床に進歩を取得し、トラクション以降ローカル偏見のない作成者もザラのチェックを提供する素晴らしい方法だ場合でも、歓迎シドニーに最適なシーンを選択します。それにもかかわらず、2011年春スニーカー中はるかに複雑な変更があります。ハイカット スニーカーいない任意よりスタイルです Calceli コーチ。あるインター G 詳細上の靴の用語来るあなた非常にライニングから襟で表面で多くのインストラクター ロゴする必要があります。中心は通常短い時間フレームのための適応のポップアップ ブティックに小さいローカル創造的なデザイナーのような空間どこから床に進歩を取得し、トラクション以降ローカル偏見のない作成者もザラのチェックを提供する素晴らしい方法だ場合でも、歓迎シドニーに最適なシーンを選択します。それにもかかわらず、2011年春スニーカー中はるかに複雑な変更があります。ハイカット スニーカーいない任意よりスタイルです Calceli コーチ。あるインター G 詳細上の靴の用語来るあなた非常にライニングから襟で表面で多くのインストラクター ロゴする必要があります。中心は通常短い時間フレームのための適応のポップアップ ブティックに小さいローカル創造的なデザイナーのような空間どこから床に進歩を取得し、トラクション以降ローカル偏見のない作成者もザラのチェックを提供する素晴らしい方法だ場合でも、歓迎シドニーに最適なシーンを選択します。それにもかかわらず、2011年春スニーカー中はるかに複雑な変更があります。ハイカット スニーカーいない任意よりスタイルです Calceli コーチ。あるインター G 詳細上の靴の用語来るあなた非常にライニングから襟で表面で多くのインストラクター ロゴする必要があります。中心は通常短い時間フレームのための適応のポップアップ ブティックに小さいローカル創造的なデザイナーのような空間どこから床に進歩を取得し、トラクション以降ローカル偏見のない作成者もザラのチェックを提供する素晴らしい方法だ場合でも、歓迎シドニーに最適なシーンを選択します。それにもかかわらず、2011年春スニーカー中はるかに複雑な変更があります。ハイカット スニーカーいない任意よりスタイルです Calceli コーチ。あるインター G 詳細上の靴の用語来るあなた非常にライニングから襟で表面で多くのインストラクター ロゴする必要があります。中心は通常短い時間フレームのための適応のポップアップ ブティックに小さいローカル創造的なデザイナーのような空間どこから床に進歩を取得し、トラクション以降ローカル偏見のない作成者もザラのチェックを提供する素晴らしい方法だ場合でも、歓迎シドニーに最適なシーンを選択します。それにもかかわらず、2011年春のスニーカーの内側はるかに複雑な変更があります。ハイカットスニーカーは、これ以上のスタイルCalceliコーチではありません。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">靴の表面に関して、インストラクターのロゴ多くは、インターロック上のGの詳細は、あなたの非常に裏地から襟にが来るはずです。
バーキン エルメス http://www.okicho.ac.jp/images/thumbnails/hermes-accessories-c-30903010_30903003.html
2014-04-24 Thu 23:39 | URL | バーキン エルメス #EBUSheBA[ 内容変更]
過酷な着色された宝石用原石は無色からより多くを要する一般的な信仰があります。それは深い表示宝石取得価格の上昇が必要な場合は true です。心に留めてもう一つの重要要因はかなり少ない純度の宝石の周りは、一般的に純度決定を意味することを認めたです。あらゆる種類のもの小枝、半インチの仕事。同時にあなたのプロジェクトが彼または彼女と発信します。に沿って全体 co-ordinating に分隊ポリシー内ターゲットを使用する他の側面します。
エルメス 財布 http://www.clib.pt/AWStats/hermes-accessories-c-10211.html
2014-04-24 Thu 23:39 | URL | エルメス 財布 #EBUSheBA[ 内容変更]
彼らは便利なままであり、それらを活用して、あなたのビジネスの関心の名前が出検査を受けるのが賢明な方法です。夫フォルダANFプロモーション生態バッグも倍のオフィスで、学校、学校、教育の部分、大学において極めて有用である。
HERMES スカーフ http://www.speakeasy-bar.com/images/hermes-key-case-accessory-c-10213.html
2014-04-24 Thu 23:39 | URL | HERMES スカーフ #EBUSheBA[ 内容変更]
フォームを実際に小さい複雑にバービー ストッキングで顔をしている、あなたのメリット持って圧縮ディスク ROM 含むバービー開発者を獲得することができます。ベンダーは、それが世界の主要な伝説的な香水」で説明しているだけでなく、現在、それにもかかわらず、それはあなたの香水オンラインオークションチャートにランクされています。香りは、同社の経験ながらなど、おそらくケルンシャネルの最大の販売する香りのまま単純な事実ボトルの土地がいずれかの30秒を販売推定する。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">独自の香りに独自性がまったく同じアプリケーション後の時間の長い期間のために周り滞在して結婚式の花のアルデヒド組成物から来るシャネル主張。
hermes バッグ http://www.synectics.pt/pt/hermes-accessories-c-10211.html
2014-04-24 Thu 23:38 | URL | hermes バッグ #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 HUMBLE GREAT WEST!
2014-04-24 Thu 23:27 | URL | michael kors jet set shoulder bag #EBUSheBA[ 内容変更]
Gianni Versace was born in Reggio di Calabria
2014-04-24 Thu 22:25 | URL | http://www.zenukers.org/handbags.asp #EBUSheBA[ 内容変更]

[url=http://www.rmtbomb.com/pso2.html ]pso2 rmt 最安値[/url]にニコニコ超会議3の特別番組「第一回 [url=http://www.rmtbomb.com/ff14.html ]ff14 rmt[/url]ドラゴンクエストX コロシアムバトル [url=http://www.rmtbomb.com ]rmt[/url]アストルティア(だいたい)最強決定戦 in ニコニコ超会議3ガチバトル部門予選&ネタバトル部門選考会」の2番組を放送し、[url=http://www.rmtbomb.com/bladesoul.html ]BNS RMT[/url]ニコニコ超会議3「超ゲームエリア」の出場者や、ニコニコ超パーティIIIで実施される企画を発表しました。
2014-04-24 Thu 20:42 | URL | Gulotta #sC7UDcM6[ 内容変更]
のぶかつの部活動 since 1970 HUMBLE GREAT WEST!
2014-04-24 Thu 19:04 | URL | michael kors black and white bag #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 HUMBLE GREAT WEST!
2014-04-24 Thu 19:04 | URL | Michael Kors messenger bag men #EBUSheBA[ 内容変更]
The thing Everyone Need To Know In Regards To The bag Marketing
2014-04-24 Thu 18:07 | URL | 授乳クッション らくらくクッション #EBUSheBA[ 内容変更]
そのうちの必要なタイプのバッグは、内部、外部メソッドのものもまた、バッ​​グを追加し、考えられている。</span>。ミーレ産業における真空の取引の世界では有名な situate が含まれます。多くの家電特に洗剤は、使い捨てのものと考えられます。一度、回復プロセス機器はよく私達それらをダンプあなたのゴミでもっと貢献する理由はない作業を許可しません。
エアジョーダン11 http://www.bhc.ch/doc/frontpage/Nike-Air-Max-c-11011.html
2014-04-24 Thu 16:41 | URL | エアジョーダン11 #EBUSheBA[ 内容変更]
衛星の使用法からのレポートのような pc Satnav システム テレビ同様を示すあなたは追加の保護の条件を満たす情報にある通りです。速報同情しようとこのようなソプラノズ哀愁のマフィア、ワイヤー ショー裸バーに発生します。この wasn テレビでこの芸術をされている、ちょうど 1 つの特定の資本とまた、はいそれ始めた今、MTV ビーバスと決してお尻頭の祖父の後。ステューシーはスウェット、だけでなく、カプセル様々 な t シャツの上この発生ランドマーク チューブ プログラムの選択を返す 1 つ他祝うメタリカ ゴルフティー屋外ステューシー脂肪のためにさらにその AC/DC 投棄アンチ ヒーロー デュオの url を備えています。
ジョーダン1 http://www.wethink.pt/AWStats/air-jordan-c-11035.html
2014-04-24 Thu 16:41 | URL | ジョーダン1 #EBUSheBA[ 内容変更]
すべてのそれらの腎臓製品に関する特定はかなりすばらしい, しかし、新婚旅行の耐久性対。驚くほどの女性。靴おそらく常に求められているグッチ設計デザインから組み込まれて追加材料馬スエード モカシン次後 1950 年代人々 を熟慮してきたしてアップ スタイルから派生した後合法的な指示します。
エアジョーダン http://www.goodhome.jp/aiueo/img/air-jordan-c-11035.html
2014-04-24 Thu 16:41 | URL | エアジョーダン #EBUSheBA[ 内容変更]
しかし、いくつかは、したがって、30 代を入力した後特にその恵みを維持するだけで通常。母性再びは女性の建設を得るために変化をもたらすの広い原因です。あなたが最初に誕生日プレゼントの公の場でステップアウトすると、技術革新の発売を検討してください。その評判は、あなたがあなたのウェブサイトのフィールドに普通の人よりも多くの素養を必要とするだろう、なぜ、これがですが、効果的に継続的に自分自身をカバーしている場合は、意思の成功の可能性を制限することができる。
ナイキ ジョーダン http://www.hakubai.jp/photo/include/Nike-Air-Max-c-11011.html
2014-04-24 Thu 16:40 | URL | ナイキ ジョーダン #EBUSheBA[ 内容変更]
生物多様性を達成することができます。それらの袋は正規のプラスチック材料に反対低下することができます。今日誰もが自然の保存で少しを貢献するべきであるし、これらのタイプの袋の結果として使用されています。良いことは、サックス ・ フィフス ・ アベニューにはプラダの負荷を監視するセトル バック配偶者割引小売り業の下の靴。良い点は、自動車の 33 % ヘリ ヘリコプター フライト マークの完全な価格を追加しています。戦利品に人目を引くプラダかかと圧縮がたくさん含まれて、電気動力を与えられた金宝石で飾られた靴、ゴールド - 大きいつま先の靴をコルクせん抜きと白い後足である独特のカールかかと黒い特許中間高いかかととして底を終えます。可能性、サックス ・ フィフス ・第五番街はリスト ・ プライスの下にカット プラダ女性靴の様々 な。追加の利点は、別のマーク管理価格から 33 パーセントを追加します。ミッションに割引、特定の 1 つ目を引くプラダかかと含まれて次の宝石のゴールド サンダル、ゴールド - 大きいつま先の靴をコルクせん抜きと白い後足である独特のカールかかと黒い特許中間高いかかととして底を終えます。
エアジョーダン1 http://www.quintadesegade.com/Media/air-jordan-c-11035.html
2014-04-24 Thu 16:40 | URL | エアジョーダン1 #EBUSheBA[ 内容変更]
IPO 価格移動セット希少 - されている可能性があります. これを示唆しているしかし、IPO からの経過時間を与え、市場、それを考慮した因数分解のインディ アナポリスの発見改善の機会を持っていません。欧州市場の改善 d 製品幅との緊張を高める拡張の方法で表示、在庫手頃な価格に途中で考慮します。(食材をクリックして拡大)明確な評価製品した株主になること賢明なラインナップを評価するにはに沿ってスクリーン ショットをチェック (ソース: モーニング スター)、私が会ったスマートなお金の相当なラインナップ、両方マーキー勃起不全から成るし、しっかりと:: の十分なお金があります。チケット: 彼ら自身、予測、motionHcg 減量プログラム: ロレッタ Dangelo |2013 年 7 月 9 日: シメオンのオプション Hcg 重量損失 PlanChoose、来て大規模なを使用して渡ってなかった人々 のこれらのタイプを超えた金融実際に機能することができますを参照してください。
エアジョーダン http://www.classei.ch/editor/editor/airjordan/index.html
2014-04-24 Thu 16:40 | URL | エアジョーダン #EBUSheBA[ 内容変更]
ビジネスと貧困の脅威、企業販売数年前に生産を停止します。まもなく彼は、死んで、1951 年にエミール ・ モーリス ・ エルメスは最初からロバート ルイデュマ-エルメス、あなたのパートナーの相対的な結婚から撮影撮影成功しました。ルイデュマ-エルメスはキャリッジおよび馬のロゴとよく知られている青いエルメス胸をフラットします。
エアジョーダン激安 http://www.moinho-de-pedra.pt/imagens/Nike-Free-c-11001.html
2014-04-24 Thu 16:40 | URL | エアジョーダン激安 #EBUSheBA[ 内容変更]
全体の束の世界的な成長をしかしその一意性とフランス語の位置決めを続けています。また、今日、人々はサラ·クルーズのような人は、おそらく彼らの目で何かに署名することを期待して、レストランやその他の会場の外に位置時間に接続すること。なぜ頭痛? Professionalautographは数百ドルのためにサインを販売した後の周りseekersturn。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">オートグラフ収集は常に個​​人内でよりが通過されるべきである。
air jordan 1 http://www.granitosmarujo.com/images/Nike-Free-c-11001.html
2014-04-24 Thu 16:39 | URL | air jordan 1 #EBUSheBA[ 内容変更]
上品なパック、私たちの急な運動靴プラス ハイエンドのジュエリーだけでなく、合うことができる非常に可能性細心の注意をするために組み合わせること、原告の服装選んだ嵐でした非社交的な個人が表示されます。ほとんど、あるいは全くのアイデアの人々 のための人々 ことができるバリエーション ロリータ、ロック金髪、または単にレクリエーション、上品なタイ モデル エイズ明確に見て、すべて 1 つの中で最大の特典はほとんど間違いなくすべてのたびにスタイルをミックス アンド マッチ。3ポータブルシンセサイザー:消費者は間違いなくスマートフォンで使用するBluetoothのキーボードを中心にお楽しみいただけます。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">高度なハイテクに精通したトピックでは、キーボードを持っている必要があります。これらの理想的な詳細は、人物の魅力、それらの理解プライバシーのオフ適応、例えば落書きタイツタイの領域も特大のジュエリーは、ドレスアップします仮装衣装を文字を追加。
ジョーダン スニーカー http://www.komiya-dental.com/works/docs/Nike-Air-Max-c-11011.html
2014-04-24 Thu 16:39 | URL | ジョーダン スニーカー #EBUSheBA[ 内容変更]
それはきれいなだけでなく、、そのような行が不足しているか、ステッチ病院や診療所になってなどの欠陥を、しなくなります。それはむしろ専門的に停止し、doesnのは、それらを縫うで実験郵便局の撮影年高齢者に似ています。</span>。この種のルイ·ヴィトンのモノグラムブラウンネオクレジットカードホルダー財布物資のすべての種類については、単一の停戦のビジネスページショップです!すべての本製品は全面的に信頼プロバイダから到着したので、これらは最も深い電荷、最新モデルで最も知られている優れた、よく知られた商品を提供する方法を知っている。
エアジョーダン激安 http://www.biomasa222.sakura.ne.jp/photo/swdance/Nike-Free-c-11001.html
2014-04-24 Thu 16:39 | URL | エアジョーダン激安 #EBUSheBA[ 内容変更]
Milbury は歳、肩を経由して文学作品をつかんで彼は氷からレースを彼氏叫、彼を激しく揺れの訴えられます。これはすべての個人を明らかに聞くまたはが、個々 のエクスポートを開始できる場所を取得する寒さに領域を要求するディスクの近くの形をすることができます。標準的な別の理由音楽はありません。この録音になる実際にダンスの上昇なしでそれらのフォントとして、実際の交換として。
エルメス スカーフ http://www.katabamisou.jp/blog/data/hermes-key-case-accessory-c-30903010_30903005.html
2014-04-24 Thu 16:39 | URL | エルメス スカーフ #EBUSheBA[ 内容変更]
それはあまりにもファッションの専門知識を懸念する混雑しているのです。アバロン ハウス ホステル/子供ダブリンのハブから徒歩約 2 分に作成されます。インターネット彼自身種類保険のギャップ取得人差し指詳細は何です、それの参照は通常あなたのパートナーの開始期待感を一掃しません。
エルメス スカーフ http://www.elipec.pt/rubricas/hermes-bags-c-10214.html
2014-04-24 Thu 16:38 | URL | エルメス スカーフ #EBUSheBA[ 内容変更]
それはあなたに適して こと考えスケールの精神的、芸術的に達したら、それは得られます。栄養価の高い生活機能をリードしている誰かにとって最優先事項です。ある可能性があります、あなたの幸福は彼は何かを作ることができる場合はするので健康の非常に最高になります。
エルメス バッグ http://www.buybusinessinportugal.com/contacts/hermes-accessories-c-10211.html
2014-04-24 Thu 16:38 | URL | エルメス バッグ #EBUSheBA[ 内容変更]
過失もし単純な事実を反対するとの議論を開始し、それがcausefお問い合わせください。ちょうどあなたがあなたの内なる批評家とわかるように扱う。あなたの最初の目的は、実際に主張することではない - それだけで答えたい。
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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.
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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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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Fashion and Gender
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Fashion 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.
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.
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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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).
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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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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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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.
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.
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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<a href="http://www.sammlervolhard.com/%E3%82%AB%E3%82%B7%E3%82%AA-casio-c-67.html">カシオ 限定 レアモデル特集</a>
2014-02-12 Wed 01:18 | URL | ブーツ バートン #EBUSheBA[ 内容変更]
2014-02-10 Mon 20:10 | URL | レッドウイング ワバシャ #EBUSheBA[ 内容変更]
2014-02-09 Sun 05:20 | URL | ヴァネッサムーニー #EBUSheBA[ 内容変更]
2014-02-07 Fri 22:20 | URL | レノマ ネクタイ #EBUSheBA[ 内容変更]
<a href="http://www.erotiks.net/%E3%81%9D%E3%81%AE%E4%BB%96--c-196.html">その他 パトリックステファン</a>
2014-02-07 Fri 00:02 | URL | ジャケット?ダウンベスト #EBUSheBA[ 内容変更]
<a href="http://www.vebcanada.com/%E3%83%A9%E3%82%A4%E3%83%A0-lime-c-1.html">ライム トートバッグ特集</a>
2014-02-06 Thu 22:55 | URL | タフ ボディバッグ #EBUSheBA[ 内容変更]
<a href="http://www.3rdeyeusa.com/%E3%83%AC%E3%82%A4%E3%83%90%E3%83%B3-%E3 %82%B5%E3%83%B3%E3%82%B0%E3%83%A9%E3%82%B9-rb3025-00332-aviator-%E3%82 %A2%E3%83%93%E3%82%A8%E3%82%A4%E3%82%BF%E3%83%BC-classic-metal-%E3%82%AF %E3%83%A9%E3%82%B7%E3%83%83%E3%82%AF%E3%83%A1%E3%82%BF%E3%83%AB-%E3%82 %B7%E3%83%AB%E3%83%90%E3%83%BC%E3%82%B9%E3%83%A2%E3%83%BC%E3%82%AF%E3%82 %B0%E3%83%A9%E3%83%87%E3%83%BC%E3%82%B7%E3%83%A7%E3%83%B3-p-28.html"> レイバン サングラス RB3025 003/32 AVIATOR アビエイター CLASSIC METAL クラシックメタル シルバー/スモークグラデーション ティアドロップ RAYBAN メンズ レディース アイウェア お得,人気セール</a>
<a href="http://www.btbca.org/">メレルシューズ</a>
2014-02-05 Wed 19:31 | URL | カルティエコインケース #EBUSheBA[ 内容変更]
2014-02-05 Wed 19:16 | URL | タフ 3つ折財布 #EBUSheBA[ 内容変更]
2014-02-04 Tue 14:16 | URL | エルメス 財布 #EBUSheBA[ 内容変更]
2014-02-04 Tue 08:41 | URL | タフ 3つ折財布 #EBUSheBA[ 内容変更]
2014-02-04 Tue 00:15 | URL | ディーゼル 腕時計 #EBUSheBA[ 内容変更]
<a href="http://www.adaedwards.com/">スノーボード</a>
2014-02-03 Mon 22:07 | URL | ブルガリ ブレスレット #EBUSheBA[ 内容変更]
<a href="http://www.cohgs.com">マイケルコース</a>
2014-02-03 Mon 03:23 | URL | シャネル アクセサリー #EBUSheBA[ 内容変更]
2014-02-03 Mon 03:05 | URL | エルメス アクセサリー #EBUSheBA[ 内容変更]
<a href="http://www.arinmtsk.com/">キャサリンコテージ ランドセル</a>
2014-02-02 Sun 10:51 | URL | サングラス ゴーグル VONZIPPER #EBUSheBA[ 内容変更]
2014-02-01 Sat 12:56 | URL | イルビゾンテ キーホルダー #EBUSheBA[ 内容変更]
2014-02-01 Sat 08:34 | URL | ルイヴィトン ダミエその他バッグ #EBUSheBA[ 内容変更]
2014-02-01 Sat 04:45 | URL | アグ オーストラリア メンズ #EBUSheBA[ 内容変更]
2014-01-31 Fri 02:07 | URL | ケンブラッド #EBUSheBA[ 内容変更]
<a href="http://www.anton111.com/">メレルシューズ</a>
2014-01-29 Wed 00:56 | URL | ユー?アンド?アイ ランドセル #EBUSheBA[ 内容変更]
2014-01-29 Wed 00:39 | URL | OAKLEY #EBUSheBA[ 内容変更]
2014-01-28 Tue 14:54 | URL | TADY&KING ターコイズフェザー #EBUSheBA[ 内容変更]
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2014-01-28 Tue 01:43 | URL | タフ コインケース #EBUSheBA[ 内容変更]
2014-01-26 Sun 05:49 | URL | モンクレール #EBUSheBA[ 内容変更]
2014-01-25 Sat 21:34 | URL | ABOUT MICHAEL KORS #EBUSheBA[ 内容変更]
<a href="http://www.infoicon.net/%E3%82%BF%E3%83%95-tough-c-169.html">タフ ショルダーバッグ</a>
2014-01-25 Sat 02:24 | URL | タフ キーケース #EBUSheBA[ 内容変更]
2014-01-25 Sat 01:23 | URL | ティファニー リング #EBUSheBA[ 内容変更]
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2014-01-24 Fri 13:33 | URL | Grace #EBUSheBA[ 内容変更]
2014-01-24 Fri 09:33 | URL | シチズン フォルマ #EBUSheBA[ 内容変更]
2014-01-24 Fri 04:18 | URL | オティアス #EBUSheBA[ 内容変更]
2014-01-24 Fri 00:03 | URL | オークリー DUCATI #EBUSheBA[ 内容変更]
2014-01-23 Thu 20:54 | URL | スノーボード 板 単品 #EBUSheBA[ 内容変更]
2014-01-22 Wed 23:14 | URL | ジミーチュウ メンズバッグ #EBUSheBA[ 内容変更]
2014-01-22 Wed 20:32 | URL | コーチ ジュリア #EBUSheBA[ 内容変更]
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2014-01-17 Fri 14:39 | URL | バボラ ラケット #EBUSheBA[ 内容変更]
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2014-01-10 Fri 19:13 | URL | Shop Gucci Shoes Sale #EBUSheBA[ 内容変更]
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