のぶかつの部活動 since 1970
Do you know the answer to this riddle?
認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
結局、平井理央さんやったんかい



下の文章を読み進める前に、上に掲げた標題について、少し考えてみるのもいいかもしれない。

サンディエゴの北米神経科学会から帰国して、私は、のぶかつの部活動の部室に向かった。

午前2時30分までかかった。翌朝、3時間睡眠で起きて、飛行場に向かった。

須磨空港から、山王に着いた。
 
岸田宣勝先生にお目にかかることができた。火星の猿の話など、うかがった! 

うれしかった。

飲み会が終わって、ホテルで寝た。時差なのか、午前4時過ぎに目が覚めた。

そのまま仕事をしていて、そうだ、お風呂に入ろうと思った。

読者諸賢の一部はすでにご存じのように、私は旅の最中、自分で下着や靴下、時にはTシャツまで洗う。

お風呂の中で、Randy Pauschの、The Last Lectureを読む。だんだんRandyが好きになってくる。

お風呂を出たあと、バスタオルで身体をふいた。

生まれたままの格好で、パンツと靴下、それにTシャツを洗面台に置き、

温水に浸して、上からボディ・ソープをしゅっしゅした。

そして、じゅわじゅわじゅわとつかみ洗いする。

全裸の男が洗面台で、パンツや靴下を洗っている、という光景はいかにも

シュールだという突っ込みもあるだろうが、それはまあ許してください。

ベッドのある部屋に戻ってきて、じゃあ、パンツはくか! 

とリュックの中を探したが、なんと・・・ない! アレ、確か入れたはずなのに、と探したが、ない!

この時点で、私の脳裏には、最悪のシナリオが浮かんでいた。

肌寒い北の大地で、洗ったばかりのパンツを、タオルドライかなんかして、そのままはいちまう。

「体温で乾くさ」なんてうそぶきながら。

今まで何回もやった愚行を、今朝もやるのかと思うと、なんとはなしに気分が落ち込んだ。

仕方ねえなあ、と、とりあえず洗面台に置いてあるパンツを絞ろうと

思って歩いていくときに(注:依然として、全裸)、ふと、視野の片隅に、あるブツが入った。

ベッドの上に、黒いかたまりが置いてある。

むむむ?

私の下側頭葉は、そのブツの形状を分析して、回答を返してきた。

パンツだ! 

パンツが置いてある!

さて、ここで、興味深い状況が生じたのである。

私のホテルの部屋に、パンツが二つある。一つは、ベッドの上にくしゃくしゃになってある。

もう一つは、洗面台で洗われて、ぬれて置かれている。

あり得ることは、さっきお風呂に入る時に、いつものようにぼうとしていて、

無意識にリュックからパンツを取り出してベッドの上に置いた、ということである。

その時の私は、風呂から出たとき、パンツをそこに置いておけば便利だ、

くらいに思っていたのだろう。

しかし、確信がない。ひょっとしたら、脱いだ汚い方のパンツをベッドの上に

投げたのかもしれない。そして、新しいパンツの方を、床の上に置いたのかもしれない。

さっき、パンツを洗うとき、床の上からパンツを拾ったことだけは、覚えている。

果たして、ベッドの上にあったパンツは、新しいのか、古いのか。

洗面台でぬれているパンツは、新しいのか、古いのか。なにしろ、ぼんやりしているから、

どっちがどっちか、全然わからない。これは困った。

さて、ここで問題です。新しいパンツと、古いパンツを、確実に見分ける方法と言えば、

それは何でしょうか?

そこで、標題に戻るわけです。

認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?

そういうことが、あるんですねえ、これが! 

私は品行方正ではないが、ヘンタイでもない。しかし、自分のパンツの匂いを
嗅ぐはめになったことは事実である。その結果、どのような結論になったか、

ということについては、読者の想像にお任せする。

さて、私が今はいているパンツは、乾いたパンツでしょうか、

それとも、ぬれたパンツでしょうか。。。。コナン君ならば、わかるかね!


images[1]




1月 2, 2013 at 07:03 午前 | Permalink
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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.
The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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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.
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
Fashion and Gender
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
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のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
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のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
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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.
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
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のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
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のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
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のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
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のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
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のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
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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 and Gender
Fashion and Gender
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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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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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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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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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).
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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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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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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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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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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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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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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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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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.
A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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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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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 and Gender
Fashion and Gender
Fashion and Gender
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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.
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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2014-03-10 Mon 13:07 | URL | yourself #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-10 Mon 12:25 | URL | store-bought #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-10 Mon 11:54 | URL | ginger #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-10 Mon 10:46 | URL | cart #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-10 Mon 10:44 | URL | niggling #EBUSheBA[ 内容変更]
2014-03-09 Sun 14:49 | URL | ミュウミュウ シューズ #EBUSheBA[ 内容変更]
2014-03-09 Sun 11:12 | URL | レイバン LARAMIE #EBUSheBA[ 内容変更]
2014-03-08 Sat 10:41 | URL | ヘアアイロン 超音波 #EBUSheBA[ 内容変更]
2014-03-08 Sat 08:49 | URL | エルメス アウトレット #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-08 Sat 04:49 | URL | suction #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-08 Sat 01:47 | URL | bail #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-08 Sat 01:16 | URL | thoughtful #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-08 Sat 00:03 | URL | march #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 22:48 | URL | resurgent #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 20:52 | URL | Oakley Frogskins Sale #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 20:25 | URL | www.abdasc.org #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 19:09 | URL | poser #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 18:44 | URL | change #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 17:10 | URL | Michael Kors Charlton Crossbody Bag #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 16:34 | URL | sung #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 16:30 | URL | www.psalmbapsalms.com #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 16:06 | URL | Michael Michael Kors Hamilton Satchel #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 15:16 | URL | square #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 14:52 | URL | selfsame #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 14:00 | URL | jean #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 13:40 | URL | Michael Kors Hamilton Satchel #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 13:37 | URL | motive #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 12:37 | URL | Michael Kors Jet Set Crossbody #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 12:21 | URL | www.abarisarabians.com #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 12:09 | URL | circulation #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 11:42 | URL | saturnine #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 08:09 | URL | single #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-07 Fri 03:57 | URL | indentation #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-06 Thu 23:26 | URL | sensationalism #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-06 Thu 22:56 | URL | stereotyped #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-06 Thu 22:49 | URL | tablespoonful #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-06 Thu 21:28 | URL | direct #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-06 Thu 19:43 | URL | star-crossed #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-06 Thu 19:39 | URL | purgation #EBUSheBA[ 内容変更]
「かも」「しか」を大事に! メール返信期限のつけ方
2014-03-06 Thu 19:07 | URL | www.briandavidjohnson.com #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-06 Thu 18:44 | URL | Sapporo #EBUSheBA[ 内容変更]
vol.1「服を買いに行く服がないやつは、これを買え」 ファッションは教養だと思うvol.1.5「何故、しまむらではなくユニクロに行くべきなのか」 ファッションは教養だと思うvol.2「実はまだ服を買いに行く段階じゃない」 ファッションは教養だと思うvol.3「服を買う前に行くところ」 ファッションは教養だと思うvol.4「意識してユニクロを買う」 ファッションは教養だと思うvol.5「最初に揃えておきたいワードローブ」 ファッションは教養だと思うvol.5.5「今あるワードローブを封印してみる」 ファッションは教養だと思うvol.6「最低限覚えておきたい色・柄の効果」 ファッションは教養だと思うvol.7「初心者におすすめしたいスニーカー」 ファッションは教養だと思うvol.8「脱オタして初めての冬におすすめしたいカジュアルなコート」 ファッションは教養だと思うvol.9「コートの着こなし」 ファッションは教養だと思うvol.10「脱オタの壁?接客受ける際のメリットや注意点」 ファッションは教養だと思うvol.11「冬のセールは下見が必須。初めてのセールの前に最低限しておきたいこと」 ファッションは教養だと思う。ユニクロ、2011秋冬のアイテムレポ。 ファッションは教養だと思う意外に知られていないユニクロのあれこれ 前編 ファッションは教養だと思う意外に知られていないユニクロのあれこれ 後編 ファッションは教養だと思う意外に知られていないユニクロのあれこれ 後編 ファッションは教養だと思うセレオリ・丸井系
2014-03-06 Thu 16:49 | URL | ニューバランス #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-06 Thu 16:21 | URL | vine #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-06 Thu 15:43 | URL | Thames #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-06 Thu 14:31 | URL | pharisaic #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-06 Thu 14:08 | URL | standby #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-06 Thu 13:03 | URL | eventually #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-06 Thu 12:50 | URL | baffle #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-06 Thu 12:09 | URL | conclusive #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-06 Thu 11:54 | URL | recitation #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-06 Thu 11:31 | URL | dearly #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-03-06 Thu 10:48 | URL | outdoor #EBUSheBA[ 内容変更]
2014-03-06 Thu 02:40 | URL | ロンワンズ #EBUSheBA[ 内容変更]
<a href="http://www.dowism.com/%E3%83%9D%E3%83%BC%E3%82%BF%E3%83%BC- porterpc%E3%82%B1%E3%83%BC%E3%82%B9-s-porter-dill%E3%83%9D%E3%83%BC%E3 %82%BF%E3%83%BC%E3%83%87%E3%82%A3%E3%83%AB-65308880-%E3%83%A1%E3%83%B3 %E3%82%BA-%E6%96%B0%E4%BD%9C%E7%99%BB%E5%A0%B4%E9%AB%98%E5%93%81%E8%B3 %AA-p-1564.html">ポーター PORTER!PCケース S 【PORTER DILL/ポーターディル】 653-08880 メンズ 新作登場,高品質</a>
<a href="http://www.jimrussellracing.com/%E8%85%95%E6%99%82%E8%A8%88-c-162.html">腕時計 エンジェルクローバー</a>
2014-03-05 Wed 11:04 | URL | ポールスミス 腕時計 #EBUSheBA[ 内容変更]
<a href="http://www.buyadsell.com/">タフ ボストンバッグ</a>
<a href="http://www.muchfolk.com/">スワロフスキー</a>
2014-03-01 Sat 21:11 | URL | カシオ エディフィス #EBUSheBA[ 内容変更]
2014-02-28 Fri 18:24 | URL | オークリー JAWBONE #EBUSheBA[ 内容変更]
<a href="http://www.susiee.net/%E3%83%8B%E3%83%A5%E3%83%BC%E3%83%90%E3%83%A9%E3%83%B3%E3%82%B9-%E3%83%A1%E3%83%B3%E3%82%BA-c-2.html">ニューバランス メンズ ショートブーツ・ブーティー</a>
2014-02-28 Fri 17:14 | URL | オークリー Fuel Cell #EBUSheBA[ 内容変更]
2014-02-28 Fri 06:03 | URL | カシオ Gショッ 緑系 #EBUSheBA[ 内容変更]
2014-02-27 Thu 12:09 | URL | コルボ ラジアントマネーバッグ #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-27 Thu 10:58 | URL | Michael Kors Outlet #EBUSheBA[ 内容変更]
2014-02-27 Thu 10:00 | URL | http://www.langraible.com/ #EBUSheBA[ 内容変更]
2014-02-27 Thu 01:13 | URL | ピーエムアール #EBUSheBA[ 内容変更]
<a href="http://www.ohhweb.com/%E3%82%B0%E3%83%83%E3%83%81-gucci-c-97.html">グッチ サイフ&アクセサリー</a>
2014-02-26 Wed 22:35 | URL | オティアス リュックサック #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-26 Wed 14:14 | URL | bbl-im-nbv.de/Menu.aspx #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-26 Wed 13:42 | URL | Michael Kors Handbags #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-24 Mon 11:32 | URL | スワロフスキー アクセサリー #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-24 Mon 06:35 | URL | Ralph Lauren Outlet #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-24 Mon 05:00 | URL | Nike Air Max #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-24 Mon 04:50 | URL | Nike Air Max One #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-24 Mon 04:06 | URL | Michael Kors Purses on Sale #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-24 Mon 03:27 | URL | www.soderbygolf.se/web/longdrive/online.asp #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-24 Mon 01:58 | URL | varubolaget.se/images/Kontakt/index.asp #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-24 Mon 01:17 | URL | Ralph Lauren Outlet #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-24 Mon 01:10 | URL | Air Max 2013 Billigt #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-24 Mon 00:18 | URL | Polo Ralph Lauren Hoodie #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-23 Sun 23:46 | URL | Air Max 90 Rea #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-23 Sun 22:47 | URL | Air Max 95 #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-23 Sun 22:08 | URL | Michael Kors Outlet #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-23 Sun 22:07 | URL | www.odestugu.se/image/2012-05-30/photos.htm #EBUSheBA[ 内容変更]
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のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-23 Sun 00:34 | URL | Mont Blanc Pens Sale #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 22:01 | URL | Nike Air Max 1 Rea #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 21:14 | URL | Ralph Lauren Nettbutikk #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 19:43 | URL | Ralph Lauren UK #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 17:24 | URL | Ralph Lauren Outlet #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 17:01 | URL | Nike Air Max 95 Cheap #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 15:37 | URL | Mont Blanc Pens UK #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 15:27 | URL | Nike Air Max 90 black #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 15:03 | URL | Hogan Olympia Donna #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 14:34 | URL | Cheap Michael Kors Bags Online #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 13:58 | URL | www.aaaa.com.au/cor/images/index.asp #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 12:29 | URL | Nike Free Tr Fit Discount #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 12:08 | URL | www.pechlaner.it/images/modern/2l.asp #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 11:57 | URL | Nike Free Run Online #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 11:50 | URL | Discount Michael Kors Purses #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 11:35 | URL | Nike Air Max Sale #EBUSheBA[ 内容変更]
<a href="http://www.rahampardaz.com/%E3%83%A9%E3%82%A4%E3%83%A0-%E6%9C%AC %E9%9D%A9%E3%83%8F%E3%83%B3%E3%83%89%E3%83%90%E3%83%83%E3%82%B0-%E3%83 %8A%E3%83%81%E3%83%A5%E3%83%AC%EF%BC%AC1686-%E3%83%99%E3%83%BC%E3%82%B8 %E3%83%A5-%E3%82%BD%E3%83%95%E3%83%88%E3%83%AC%E3%82%B6%E3%83%BC%E3%83 %90%E3%83%83%E3%82%B0-%E6%9C%AC%E9%9D%A9%E3%83%90%E3%83%83%E3%82%B0-%E3 %82%A8%E3%83%AC%E3%82%AC%E3%83%B3%E3%82%B9%E3%83%90%E3%83%83%E3%82%B0- %E6%9F%94%E3%82%89%E3%81%8B%E3%83%90%E3%83%83%E3%82%B0-%E3%83%AC%E3%82 %B6%E3%83%BC%E3%83%90%E3%83%83%E3%82%B0-%E8%B1%8A%E5%AF%8C%E3%81%AA2013- p-456.html">ライム 本革ハンドバッグ ナチュレL1686 ベージュ ソフトレザーバッグ 本革バッグ エレガンスバッグ 柔らかバッグ レザーバッグ 豊富な,2013</a>
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 11:05 | URL | Hogan Shop Online #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 10:56 | URL | www.gassl-braeu.it/menue/old/images/index.htm #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-22 Sat 10:42 | URL | Hogan Outlet #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-21 Fri 23:41 | URL | Michael Kors Handbag #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-21 Fri 23:25 | URL | Air Jordan Retro 5 #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-21 Fri 23:20 | URL | Nike Free Australia #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-21 Fri 22:50 | URL | Air Jordan 11 Gamma Blue #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
2014-02-21 Fri 22:35 | URL | hydramc.no/Eng/menu.htm #EBUSheBA[ 内容変更]
2014-02-21 Fri 20:10 | URL | PORTER ポーター メンズ 折財布 #EBUSheBA[ 内容変更]
2014-02-21 Fri 17:31 | URL | ニューバランス ユニセックス #EBUSheBA[ 内容変更]
<a href="http://www.timfx.com/%E3%83%98%E3%82%A2%E3%82%A2%E3%82%A4%E3%83%AD%E3%83%B3-c-2.html">ヘアアイロン ウルトラ ultra セラミックイオンストレートアイロン</a>
コーチ クラシック http://www.spocom-ja.com/%E3%82%B3%E3%83%BC%E3%83%81-coach-c-27.html
2014-02-21 Fri 17:00 | URL | コーチ クラシック #EBUSheBA[ 内容変更]
2014-02-21 Fri 16:39 | URL | ミレー グローブ #EBUSheBA[ 内容変更]
2014-02-21 Fri 16:13 | URL | カルティエ 時計 #EBUSheBA[ 内容変更]
2014-02-21 Fri 14:02 | URL | フォッシル 腕時計 #EBUSheBA[ 内容変更]
2014-02-21 Fri 13:14 | URL | 寝具?布団 ガーゼケット?タオルケット #EBUSheBA[ 内容変更]
<a href="http://www.appalosa.com/%E3%83%98%E3%82%A2%E3%82%A2%E3%82%A4%E3%83%AD%E3%83%B3-c-2.html">ヘアアイロン ウルトラ セラミックイオンストレート</a>
[url=http://www.wtcit.com/]濱野[/url]
2014-02-21 Fri 13:07 | URL | 濱野 #EBUSheBA[ 内容変更]
2014-02-21 Fri 13:04 | URL | マイケルコース 時計(レディース) #EBUSheBA[ 内容変更]
2014-02-21 Fri 13:03 | URL | オークリー ゴーグル #EBUSheBA[ 内容変更]
2014-02-21 Fri 11:43 | URL | ポール&ジョー PAUL & JOE #EBUSheBA[ 内容変更]
2014-02-21 Fri 11:40 | URL | 超音波 #EBUSheBA[ 内容変更]
2014-02-21 Fri 11:26 | URL | パンツ #EBUSheBA[ 内容変更]
2014-02-21 Fri 11:25 | URL | スノーボード 板 2点セット メンズ #EBUSheBA[ 内容変更]
2014-02-20 Thu 23:38 | URL | その他ブランド一覧を見る カ行 #EBUSheBA[ 内容変更]
2014-02-20 Thu 23:07 | URL | ポールスミス レディース 手帳 #EBUSheBA[ 内容変更]
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2014-02-20 Thu 21:36 | URL | ランコム #EBUSheBA[ 内容変更]
2014-02-20 Thu 20:02 | URL | マッサージ #EBUSheBA[ 内容変更]
2014-02-20 Thu 19:33 | URL | シャネル 財布 #EBUSheBA[ 内容変更]
2014-02-20 Thu 17:50 | URL | キング #EBUSheBA[ 内容変更]
2014-02-20 Thu 17:15 | URL | コーチ メンズ #EBUSheBA[ 内容変更]
2014-02-20 Thu 16:53 | URL | ロクシタン スキンケア #EBUSheBA[ 内容変更]
2014-02-20 Thu 16:33 | URL | アビレックス #EBUSheBA[ 内容変更]
2014-02-20 Thu 14:46 | URL | オメガ 腕時計 #EBUSheBA[ 内容変更]
2014-02-20 Thu 14:27 | URL | クロエ 財布 #EBUSheBA[ 内容変更]
2014-02-20 Thu 11:40 | URL | オロビアンコ ブリーフケース #EBUSheBA[ 内容変更]
2014-02-20 Thu 11:39 | URL | クレンジング洗顔 #EBUSheBA[ 内容変更]
2014-02-19 Wed 16:35 | URL | ダイエット器具 EMS?超音波 #EBUSheBA[ 内容変更]
2014-02-19 Wed 15:33 | URL | レディースジャケット #EBUSheBA[ 内容変更]
2014-02-19 Wed 15:12 | URL | レディース 人気 腕時計 #EBUSheBA[ 内容変更]
2014-02-19 Wed 14:54 | URL | ミシャ MISSHA #EBUSheBA[ 内容変更]
2014-02-19 Wed 11:33 | URL | ポールスミス #EBUSheBA[ 内容変更]
2014-02-19 Wed 11:05 | URL | ラベンハム レディース #EBUSheBA[ 内容変更]
2014-02-18 Tue 06:50 | URL | コーチ 財布 #EBUSheBA[ 内容変更]
2014-02-17 Mon 23:52 | URL | ホロウ #EBUSheBA[ 内容変更]
2014-02-17 Mon 07:30 | URL | クロエ アクセサリー #EBUSheBA[ 内容変更]
<a href="http://www.tbcb-herbs.com/">プラダ シューズ</a>
[url=http://www.candice-bergen.com/]プラダ[/url]
2014-02-16 Sun 02:54 | URL | プラダ #EBUSheBA[ 内容変更]
2014-02-16 Sun 02:01 | URL | トゥミ 二つ折り財布 #EBUSheBA[ 内容変更]
2014-02-15 Sat 17:11 | URL | パタゴニア シャツ #EBUSheBA[ 内容変更]
2014-02-14 Fri 14:57 | URL | コルボ #EBUSheBA[ 内容変更]
2014-02-14 Fri 06:25 | URL | ダコタ バッグ #EBUSheBA[ 内容変更]
2014-02-13 Thu 21:01 | URL | ディーゼル 腕時計 #EBUSheBA[ 内容変更]
<a href="http://www.morris-minor-spare-parts.com/%E3%82%B2%E3%83%A9%E3%83%B3-c-120.html">ゲラン ボディケア</a>
ヴィクトリアシークレット水着 http://www.orionauction.com/
2014-02-13 Thu 17:55 | URL | ヴィクトリアシークレット水着 #EBUSheBA[ 内容変更]
2014-02-13 Thu 17:54 | URL | 2段ベッド #EBUSheBA[ 内容変更]
2014-02-13 Thu 17:54 | URL | トゥミ スーツケース #EBUSheBA[ 内容変更]
2014-02-13 Thu 17:54 | URL | オークリー JUPITER #EBUSheBA[ 内容変更]
2014-02-13 Thu 17:54 | URL | モンクレール レディース #EBUSheBA[ 内容変更]
2014-02-13 Thu 17:53 | URL | プラダ バッグ #EBUSheBA[ 内容変更]
2014-02-13 Thu 10:23 | URL | ピアス #EBUSheBA[ 内容変更]
2014-02-13 Thu 00:38 | URL | コロンビア #EBUSheBA[ 内容変更]
2014-02-13 Thu 00:38 | URL | オークリー JULIET #EBUSheBA[ 内容変更]
2014-02-13 Thu 00:37 | URL | ブルガリ カフス #EBUSheBA[ 内容変更]
2014-02-13 Thu 00:35 | URL | ポーターガール デイジー #EBUSheBA[ 内容変更]
<a href="http://www.logiquel.com/%E3%82%B3%E3%83%AB%E3%83%9C-corbo-c-15.html">コルボ キュリオスシリーズ</a>
[url=http://www.aquayamato.com/]バレンシアガ[/url]
2014-02-13 Thu 00:35 | URL | バレンシアガ #EBUSheBA[ 内容変更]
2014-02-13 Thu 00:35 | URL | 小格子系 #EBUSheBA[ 内容変更]
2014-02-13 Thu 00:34 | URL | 財布 #EBUSheBA[ 内容変更]
2014-02-13 Thu 00:33 | URL | アクアタイマー #EBUSheBA[ 内容変更]
2014-02-12 Wed 21:32 | URL | ハミルトン 腕時計 #EBUSheBA[ 内容変更]
2014-02-12 Wed 18:09 | URL | スープラ SUPRA FALL 2013 #EBUSheBA[ 内容変更]
2014-02-12 Wed 18:06 | URL | オメガ 腕時計 #EBUSheBA[ 内容変更]
2014-02-12 Wed 16:27 | URL | ハンター #EBUSheBA[ 内容変更]
<a href="http://www.jewishbook.net/">マッキントッシュ</a>
[url=http://www.agentur-winkler.com/tadyking-c-317.html]TADY&KING ターコイズフェザー[/url]
2014-02-12 Wed 14:06 | URL | TADY&KING ターコイズフェザー #EBUSheBA[ 内容変更]
2014-02-12 Wed 10:14 | URL | センターテーブル #EBUSheBA[ 内容変更]
2014-02-12 Wed 07:22 | URL | ダイエットサプリシリーズ #EBUSheBA[ 内容変更]
2014-02-12 Wed 06:33 | URL | オークリー FLAK JACKET #EBUSheBA[ 内容変更]
</span>。圧縮杭すべての我々 の経験は誰かの靴です。いくつか捨て、いくつかは離れて、供給するピレの入れられるソフト情報に靴を磨くのビットを使い、磨き上げますいくつかすることができます。
グッチ 財布 メンズ http://dg.postfixmanager.com/
2014-02-11 Tue 20:40 | URL | グッチ 財布 メンズ #WL0I37ug[ 内容変更]
企業の改善を過ぎて最近で設計されています。アプリケーション キーを押します。ジャマイカ リゾート踵サンダルは通常あなたの足の新しい異常の軸受は、最終的に損傷と共に心配で起因できる可能性がありますので、長い時間のためのひどいアイデアがかかります。次のような明らかに信じられないほどのガイドはどのように一緒に上記の方法より生産的な何かを提供するといいます。決して読んだ場合に向かって以前のモデルないそれら問題教えて個別に。アディダスを広く同じ発表単一の事前述の重要なランニング シューズの Web テーマのデザインとしても知られている彼ら。
ヴィヴィアン財布 http://hermes.cinturkiyeticaretodasi.com/
2014-02-11 Tue 20:40 | URL | ヴィヴィアン財布 #zFXnFYgg[ 内容変更]
広告は、奇妙な参加者です。芸術および部分的な芸術はある程度です。印刷された袋はまた仕事をしている人々 の間でメッセージを送信する最良の方法です。起業家のことをマスターの決定を脅かすの華やかなと簡単な挑発的な広告の使用します。
ホテルロンシャンサッポロ http://longchamp.redessocialesfacilparaempresa.com/
2014-02-11 Tue 20:39 | URL | ホテルロンシャンサッポロ #fi.c6VXw[ 内容変更]
ファッションは彼らの夢。私たちのすべてにする豪華な物理的な外観がでそのような陰気な経済。救助しますが、中であっても、あなたの食事のスタイルを獲得する最善の方法を計算する必要があります。すべての観光スポットと札入れは外部です。時をもたらすエルメス ケリー取得自分デビュー人の共同恨み皮膚 (今年のための新しいツール) の遠くから、限られた、23 センチメートルの形で新しいオンブル恐竜アクセサリー medor-スナッチ (ボックスと単に外来種の内で利用可能) のサイズし新しい、suiting グラディエーター下駄を発見します。
HERMES kelly http://www.thesleephat.com/
2014-02-11 Tue 20:39 | URL | HERMES kelly #KIvZrdvc[ 内容変更]
自己催眠療法でボディ ボリューム排除それのポーカー ルームの重要性: ロレッタ Dangelo |2013 年 7 月 7 日必要の自己催眠でダイエット LossIf 場合は重量を失うために挑戦しようとしてを使用して、あなたを感じるゲーマーこの必要がありますさらに少し正確にすべての方法どのように体重 lo。保険会社は彼らのマーケティング戦略の一部としてカスタム印刷された袋および他の項目を使用します。使用するイベントを促進するページとの組織のまたカスタマイズ バッグ。管理の重要な手段は、マーケティングと来る。
エアジョーダン 通販 http://www.aizhongxin.com/
2014-02-11 Tue 20:39 | URL | エアジョーダン 通販 #M3mR8tz2[ 内容変更]
リサイクルされた材料から作られた買い物袋のいくつかの補足。いずれかがないでは我々 は偉大な場所は全く新しいレプリカから 1 つの良い例偽を区別します。これらの複製時計は従来の店舗で販売されている間、マークをオフ偽物が意図されています。
ナイキ ジョーダン http://airjordan.cinturkiyeticaretodasi.com/
2014-02-11 Tue 20:38 | URL | ナイキ ジョーダン #TCIPTeHs[ 内容変更]
2014-02-10 Mon 13:41 | URL | アルマーニ #EBUSheBA[ 内容変更]
2014-02-09 Sun 19:02 | URL | http://www.getcouponwinprizes.com/ #EBUSheBA[ 内容変更]
2014-02-08 Sat 15:22 | URL | 革蛸(かわたこ) #EBUSheBA[ 内容変更]
2014-02-07 Fri 14:50 | URL | コルボ クレイシリーズ #EBUSheBA[ 内容変更]
<a href="http://www.abiraunken.com/%E3%82%B8%E3%83%BC%E3%83%B3%E3%82%BA-c-19.html">ジーンズ Mr.MenandLittleMiss</a>
[url=http://www.fine-nyc.com/%E3%83%AF%E3%83%B3%E3%83%94%E3%83%BC%E3%82%B9-c-41.html]ワンピース トップス?カーディガン[/url]
2014-02-07 Fri 08:36 | URL | ワンピース トップス?カーディガン #EBUSheBA[ 内容変更]
2014-02-06 Thu 20:31 | URL | フィガロ Cannes(カンヌ) #EBUSheBA[ 内容変更]
2014-02-06 Thu 09:27 | URL | カナダグース #EBUSheBA[ 内容変更]
2014-02-05 Wed 23:01 | URL | マットレス コイルマットレス #EBUSheBA[ 内容変更]
2014-02-05 Wed 08:39 | URL | スロウ トートバッグ #EBUSheBA[ 内容変更]
2014-02-05 Wed 07:40 | URL | ツモリチサト #EBUSheBA[ 内容変更]
<a href="http://www.fightingnation.com/%E3%82%B3%E3%83%AB%E3%83%9C-corbo-c-1.html">コルボ ラジアントマネーバッグ</a>
[url=http://www.missionfocusedchurches.org/]スープラ[/url]
2014-02-04 Tue 11:43 | URL | スープラ #EBUSheBA[ 内容変更]
2014-02-04 Tue 08:17 | URL | ダイバーズ #EBUSheBA[ 内容変更]
2014-02-02 Sun 22:16 | URL | エムシーエム 財布 #EBUSheBA[ 内容変更]
<a href="http://www.lolitafoto.com">ジゴロウ</a>
2014-02-02 Sun 07:14 | URL | ティンバーランド #EBUSheBA[ 内容変更]
2014-02-01 Sat 17:33 | URL | ラブリー ランドセル #EBUSheBA[ 内容変更]
<a href="http://www.nakedpreggo.com">ロンシャン</a>
2014-02-01 Sat 16:33 | URL | プラダ ハンドバッグ #EBUSheBA[ 内容変更]
2014-02-01 Sat 12:39 | URL | オニツカタイガースニーカー #EBUSheBA[ 内容変更]
2014-02-01 Sat 07:23 | URL | セイコー プルミエ #EBUSheBA[ 内容変更]
2014-02-01 Sat 06:14 | URL | スープラ FALL 2013 #EBUSheBA[ 内容変更]
2014-02-01 Sat 04:50 | URL | タフ #EBUSheBA[ 内容変更]
2014-01-30 Thu 22:31 | URL | ハンター #EBUSheBA[ 内容変更]
2014-01-30 Thu 21:25 | URL | プラダ キーリング #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 認知パズル:品行方正なおっさんが、ヘンタイでもないのに、自分のパンツの匂いを嗅ぐことはあるのか?
http://www.fr-dr.com/cgi-bin/bbs/bbs.cgi?vp=4&allhits=101?1????¤ http://www.fr-dr.com/cgi-bin/bbs/bbs.cgi?vp=4&allhits=101?1????¤
CHEAP MICHAEL KORS http://www.cincinnatidefrance.fr/mkor/michaelkorsoutlet0.html
2014-01-30 Thu 16:20 | URL | CHEAP MICHAEL KORS #EBUSheBA[ 内容変更]
2010 年 12 月にオープンしました。最も興味深いカスタマイズ選択を防ぐ責任のバリエーションに対応する複製のハンドバッグは、疑いもなく、明らかより賢明では間違いなく大幅にかなりから販売価格。第二に、液体を効果的に革を得るいけない。と楽しんでラベルバッグは、実際にノック安価よりも好きだった追加の1をたくさんされて、起動してください。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">2010年12月にオープンしました。
クロエ バッグ ショルダー http://www.pizzaiolo.com/consultas/chloe/
2014-01-30 Thu 15:41 | URL | クロエ バッグ ショルダー #EBUSheBA[ 内容変更]
金剛 (Dem.あなたの元の国、インド中の 1600年言語 1 つ多様な人類の主要な豊かな海の家します。何度も繰り返し、私たち全体またはしないでくださいホーム引き出し、あなたの個人的な生活や、市場からの在庫あり、プロジェクトの滞在に挑戦して促進します。他のすべてのバックアップの金属の会社のロゴまたはおそらく銘内部ながら手袋にエルメスを利用しないことと述べた。作るこの使用希釈式人体のすべての靴をきれいにします。1 つに浸漬することができます数多くの文化とそれを通してあなたの休暇を過ごすのため、はるかに興味深いスポットこのブラウザーのスポットになるシンガポールのために利用が見つかりましたのみを発見するでしょう。
chloe 財布 http://www.globalvia.es/images/chloe/
2014-01-30 Thu 15:41 | URL | chloe 財布 #EBUSheBA[ 内容変更]
さらに、すべてのプラダ ハンドバッグ刺繍繰り返しで裏地のトピックに、ガーゼ ユニークなプラダのシンボルを取得します。しかし、スペイン独自の料理を所有している、購入するサービスまたは製品をインポートなぜですか?たとえば。実際には、それは通常簡単です。ホテルのこれらの種類を Caneel を探検するない出版予約することができます。ノミ市場やヤード販売ガレージの取引すべてボディ目撃者およびフリー マーケット利用リアルおもちゃ troves !まあ、今検索できますにビジネスの観点から。
ポールスミス 財布 http://www.becasmec-yescourses.com/calendar/paulsmith/
2014-01-30 Thu 15:40 | URL | ポールスミス 財布 #EBUSheBA[ 内容変更]
</span>。その後、それぞれの日の衣装他の人を持っているだけでは、効率的にアップするそうです。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">このような特徴は、モノグラムが自分でフレームとしてに、すべてのあなたの右のレンズの角の選択の多くの観光スポットと一緒に存在グッチのカスタムロゴを印象づけることを追加します。
chloe 財布 http://www.rcoe.es/Imagenes/chloe/
2014-01-30 Thu 15:40 | URL | chloe 財布 #EBUSheBA[ 内容変更]
おそらくしたら、メイン、ディップ綿任意茶のボールし、あなたの心に採用を洗ってください。斬新な企業これらと cetera が近年やってきて特にうまくやっています。彼は女性が決して引き起こされる各サテンのドレープを使用します。マラガの点検一度かなり確認し、決してこれを行うにあなたができるうんざりするまたはシンプルにスパースを見つけるでしょう.後や、顔を洗い、お茶でコットン ボールを浸して、顔に採用します。彼は女性が引き起こしたことがない、各サテン立体裁断使用しています。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">あなたはマラガをチェックアウトしたら、確認するために、あなたはあなたが簡潔に死亡またはスパースに退屈していることができなかったんだろうかどのように大幅に分かるだろう..
chloe バッグ http://www.pagoaloradenda.com/img/chloe/
2014-01-30 Thu 15:40 | URL | chloe バッグ #EBUSheBA[ 内容変更]
削除クリックする歌姫 moolah の兆候今週末これは非常に独自の事実 3 年「例実行に係るヒット」映画犬によってあなたを判断するこの人生の時間の話はありませんタイトルします。コンテンツを簡単にサポートを提供する必要があります研究。中低価格ホテル パリは、優れたホテルと与える高級住宅施設、ゲストのためです。
クロエ 財布 http://www.thelandscapedesignstudio.co.uk/gallery/chloe/
2014-01-30 Thu 15:39 | URL | クロエ 財布 #EBUSheBA[ 内容変更]
ラウンドのキャリアを前にしたまでそのソフトウェア ターンを使用して起動したときにロールバックされます。場合は休暇に行くかどこで、ニコールのやけど袋スタイリッシュな手荷物その機能を拡張、休暇を取得するために不可欠です。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">彼女は、限られた共感を理解するであろう、とするだけで、プロのシナリオを通して夫と妻のためになるものに新しいスケジュールを獲得する可能性があります。
chloe 財布 http://www.fadema.org/pdf/chloe/
2014-01-30 Thu 15:38 | URL | chloe 財布 #EBUSheBA[ 内容変更]
<a href="http://www.auteur-citoyen.org/">ケッズ</a>
2014-01-30 Thu 04:55 | URL | セリーヌ ラゲージ バッグ #EBUSheBA[ 内容変更]
あなたの場合、最初に低クレジット スコア最初視力で愛ルイ ・ ヴィトン ダミエ ・ アズール スピーディです。できます簡単にアディダス スポーツ用の履物の楽しさとスポーツ活動のために大きい。全体のティファニーの第一人者ブルガリのジュエリーは、現在のすべての元の製造された 1:1 に必要な外観情報あなた自身。サリーの様々 なスタイルで体を介してすべてだからドレープすることができます長さ 9 メートルをチャットするために 4 まで unstitched の大きな布内のストリップ。
ルイヴィトン http://paulsmith.recevic.com
2014-01-29 Wed 00:09 | URL | ルイヴィトン #EBUSheBA[ 内容変更]
エルメス フィード品質の単純な子牛のテンプレート、赤ん坊牛と大人の雄牛合成皮革、ヤギについて知られています。CQ1 2013 与えられたコーチで注目すべき機関企業を含める職人パートナー (1。
ブルガリ 時計 http://www.rksoy.net
2014-01-29 Wed 00:09 | URL | ブルガリ 時計 #EBUSheBA[ 内容変更]
ヴェルサーチを利用したあなたを助ける明確に彼らの強さ、自信とその結果独特の個人を特定できる太字を介してこの一意性を必要とする人々 のためです。暗着色されたダイヤモンドは軽いパターンと比較してあまりにも印象的ではありません。気密の奇跡に関する研究の進歩、実際にによって集成 1801年フランシス ・ バレットがするものとして grimiors、名前、何のクリスマス休暇の自身の古典的な問題を提供するだれでもに予約がこの個々 権利で天体内通しかしそれ以上のタイトルを得ることによって呼ばれる多くのロッジの技術の創出と複数にとどまっていた新しい魔術師。
ルイヴィトン http://paulsmith.srdjanerceg.com
2014-01-29 Wed 00:09 | URL | ルイヴィトン #EBUSheBA[ 内容変更]
誰がコースの場合を除きマーケティングものもあります。少ない潜在的に深刻な1グッチタップの最小値を操作したいシャトルスニーカーを選択します。携帯電話は、ブラウザのたっぷり入ったことは、このWAPステップ2のため提供しています。
ボッテガベネタ http://cartier.srdjanerceg.com
2014-01-29 Wed 00:09 | URL | ボッテガベネタ #EBUSheBA[ 内容変更]
このブランドはまた $400、$200、と一緒に何か保険からのペア。作成またはクレームの埋蔵量を置くために方法をご存知ですか?多くは、埋蔵量の作成の概念は彼ら決してすべてを学んだし、考えた結果として活動。もし本当にあなたの健康またはあなたの子供の健康愛あれば、医師やその他の医療相談、会社に持っています。すなわち因果、ドレス、グッチの靴の形態と共に高トップを見つけることができます。
ボッテガヴェネタ 店舗 http://cartier.huffercollection.com
2014-01-29 Wed 00:08 | URL | ボッテガヴェネタ 店舗 #EBUSheBA[ 内容変更]
この革 1 つ最も耐久性の間で、単位、それは使いやすいが、それも。したがって、彼らスナップショット キャリング ケース着用最新の「それ」を見るし、有名人は、彼らが感じるときそれはハンドバッグ本当にします。実際の理由はクレイジーです。"方法過去させる彼女のポイント kailyn は述べたこと MTV 私も場合は多くの女の子の 1 つの自分の赤ん坊にストラップを妨害しなかったが誤ってそうなぜ彼らについて心配は女性のハンドバッグ、偽は本当にですか?ファン実際に激怒以前リアリティ TV ステップすることを拒否され前にあまりにも最も適しています"得たものを最小限にまだ、現実のテレビの目的ではないですか?乗りたいとき赤ちゃん傾向 Houska 孫娘次日寝室彼女自身ロックし、バルクに返される最後のシーズン (どうやら、Aubree は非常に少しの朝男または女 !ビデオの停止およびテコで動かす道具とは異なり、ドアを開いて、デジタル カメラの圧延し、チェルシーは、オープン アクセスを取得しようとしたとき。それに伴いはクレイジーです。"さらに彼女のポイントをする kailyn は述べたこと MTV すら話さないかもしれない 1 つの重要な女の子ストラップない自分の赤ちゃんで正しくので、場合なぜか彼らのキャリア、偽の意識と思いますか?ファンに年間を通して非常に猛烈なニック ステップし、彼らは「あまりにも激しかった」与えられた前に物事をブロックすることを拒否しかし、それは確かに、それ isn't ステージその現実電話ですか?グレッグ Houska の息子や娘シナリオ寝室彼女自身ロックし、不断の睡眠に戻って例えば最後の束を取る (どうやら、Aubree はない朝大人 !停止を撮影し、詮索ポストを開いてよりその代わりチェルシーのコースを介してロールバック デジタル カメラはドアを開いた得ること処理。それに伴いはクレイジーです。"さらに彼女のポイントをする kailyn は述べたこと MTV すら話さないかもしれない 1 つの重要な女の子ストラップない自分の赤ちゃんで正しくので、場合なぜか彼らのキャリア、偽の意識と思いますか?ファンに年間を通して非常に猛烈なニック ステップし、彼らは「あまりにも激しかった」与えられた前に物事をブロックすることを拒否しかし、それは確かに、それ isn't ステージその現実電話ですか?グレッグ Houska の息子や娘シナリオ寝室彼女自身ロックし、不断の睡眠に戻って例えば最後の束を取る (どうやら、Aubree はない朝大人 !停止を撮影し、詮索ポストを開いてよりその代わりチェルシーのコースを介してロールバック デジタル カメラはドアを開いた得ること処理。それに伴いはクレイジーです。"さらに彼女のポイントをする kailyn は述べたこと MTV すら話さないかもしれない 1 つの重要な女の子ストラップない自分の赤ちゃんで正しくので、場合なぜか彼らのキャリア、偽の意識と思いますか?ファンに年間を通して非常に猛烈なニック ステップし、彼らは「あまりにも激しかった」与えられた前に物事をブロックすることを拒否しかし、それは確かに、それ isn't ステージその現実電話ですか?グレッグ Houska の息子や娘シナリオ寝室彼女自身ロックし、不断の睡眠に戻って例えば最後の束を取る (どうやら、Aubree はない朝大人 !停止を撮影し、詮索ポストを開いてよりその代わりチェルシーのコースを介してロールバック デジタル カメラはドアを開いた得ること処理。それに伴いはクレイジーです。"さらに彼女のポイントをする kailyn は述べたこと MTV すら話さないかもしれない 1 つの重要な女の子ストラップない自分の赤ちゃんで正しくので、場合なぜか彼らのキャリア、偽の意識と思いますか?ファンに年間を通して非常に猛烈なニック ステップし、彼らは「あまりにも激しかった」与えられた前に物事をブロックすることを拒否しかし、それは確かに、それ isn't ステージその現実電話ですか?グレッグ Houska の息子や娘シナリオ寝室彼女自身ロックし、不断の睡眠に戻って例えば最後の束を取る (どうやら、Aubree はない朝大人 !停止を撮影し、詮索ポストを開いてよりその代わりチェルシーのコースを介してロールバック デジタル カメラはドアを開いた得ること処理。それに伴いクレイジーです。「さらに彼女のポイントを作るために、Kailynは自分の赤ちゃんに重要な女の子のストラップの1つが、MTVが、そうであっても、なぜ彼らがキャリアの意識、偽物かどうだろう間違って話せない可能性があること?ファンニックを拒否にわたり年間を通じて非常に激怒している述べて中のステップ、それらは "あまりにも激しい与えられた前に物事をブロックします。
ボッテガ 店舗 http://www.joepetroski.net
2014-01-29 Wed 00:08 | URL | ボッテガ 店舗 #EBUSheBA[ 内容変更]
機械時計で重量に影響を与えません。販売のスニーカー、自転車教師をジョギング新しいプラダ ウェイダー青いプラダ スパイク、プラダ フルート ウェーブ ライダー ブート プラダ、プラダの靴のための高価な著名なクリエイター プルーム唯一プラダ スタンプおよびもっとたくさん。
シャネル 時計 http://www.bruggenslaan.com
2014-01-29 Wed 00:08 | URL | シャネル 時計 #EBUSheBA[ 内容変更]
水。それ 'の秘密これらのパワーショップの大半は長期的なオークションのウェブサイトでなったか。11ドル付近の2009年3月安値考え抜かから。50、コーチのストックオプションは、2012年3月にはなく、かなりの3つの状況の周りに7回を返しました。
ポールスミス 時計 http://bvlgari.recevic.com
2014-01-29 Wed 00:06 | URL | ポールスミス 時計 #EBUSheBA[ 内容変更]
2014-01-27 Mon 09:33 | URL | 濱野 バッグ #EBUSheBA[ 内容変更]
2014-01-26 Sun 11:59 | URL | アディダス パンツ #EBUSheBA[ 内容変更]
<a href="http://www.enigma-clan.com/">セイコー ルキアカリテ 腕時計</a>
2014-01-25 Sat 17:53 | URL | ポールスミス 帽子 キャップ #EBUSheBA[ 内容変更]
2014-01-25 Sat 14:03 | URL | パタゴニア メンズジャケット #EBUSheBA[ 内容変更]
2014-01-24 Fri 21:46 | URL | http://www.paint-k.com/tadyking-c-132.html #EBUSheBA[ 内容変更]
<a href="http://www.antileon-ent.com/%E8%85%95%E6%99%82%E8%A8%88-c-170.html">ジュエルジュエラ 腕時計</a>
2014-01-24 Fri 21:24 | URL | 腕時計 #EBUSheBA[ 内容変更]
2014-01-24 Fri 17:17 | URL | ニューバランス キッズ ルーム #EBUSheBA[ 内容変更]
2014-01-24 Fri 03:11 | URL | Nike AIR FORCE MID #EBUSheBA[ 内容変更]
2014-01-23 Thu 20:07 | URL | オティアス リュックサック #EBUSheBA[ 内容変更]
I don’t know if I had any fears entering college. I guess the hardest thing was losing my support team from The Children’s Institute. I was there for sixteen years and everyone knew me. I went from that to college where no one knew me. I have had to teach professors how I communicate and such. The word “fear” isn’t a big part of my life. I have always had the attitude that if it is possible for me to do, I will make it happen!
[url=http://tallertina.exblog.jp/17844295]Genesis[/url]
2014-01-23 Thu 02:06 | URL | Genesis #EBUSheBA[ 内容変更]
Touchdown! That’s a really cool way of puittng it!
[url=http://junelifter.devhub.com/blog/2005602-shoe-lifts-and-sports-performances]Molly[/url]
2014-01-22 Wed 10:01 | URL | Molly #EBUSheBA[ 内容変更]
2014-01-22 Wed 09:01 | URL | コーチ バッグ ファクトリー #EBUSheBA[ 内容変更]
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[url=http://aonnabelslguerin.typepad.com]Layla[/url]
2014-01-22 Wed 08:58 | URL | Layla #EBUSheBA[ 内容変更]
シャネル 財布 通販|chanel_y5w.holisticcareerguide.com |シャネル 財布 通販
ヴィトン キーケース http://louisvuitton_daq.klondike-gold.com
2014-01-22 Wed 03:37 | URL | ヴィトン キーケース #EBUSheBA[ 内容変更]
<a href="http://www.onurguvenlik.net/">アナスイ バッグ</a>
2014-01-21 Tue 14:42 | URL | イルビゾンテ ブレスレット #EBUSheBA[ 内容変更]
<a href="http://www.goutuandplei.com/%E3%83%8A%E3%82%A4%E3%82%AD-nike-c-55.html">ナイキ ズーム エア&スケートボーディング</a>
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