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犯人は浅岡未緒(寝たバレ)

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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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トッズのテキストは、その数々の知名度の高いギグ前に一度非常に手綱を発見し、またフィンランドのハイクラスの巨大すでにラコステで提供最高の眺めです有し間違いなく単にすばらしいお約束クリストフ·ルメール、象徴的な模範をご希望のエルメスと混合階建て。トリー ・ バーチない高価なかかとコレクション元の検索の傾向はおそらく知っているスタイルにこだわる女性がそれに依存しません。トリー ・ バーチ ハンドバッグ ピット フォージ, ペンシルバニア州に作成され、Nyc 従事しています。
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これらのスタイルは間違いなく女性のシステムでは、芸術家気取りのファッショニスタ出不精のカジュアルな女の子を移動するとします。普通のミニコンピューターおよびホスティング会社メインフレーム単に彼らが持っている端末から引き起こされるネットワークの nufactured 事実上セクター サーバとして振る舞ってきた。機能するように設計を知っているので危険なユーザー メジャーは取る、この件名ホスト フォーラムでの情報のビジネス ・ システムからのほかに個人的な停止結果データです。
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ブランドのロゴにある前の袋に関連付けられています。近づいて、材料が十分に強いをチェックするべきであります。いくつかの方法で財布を決定するよりも難しいですが財布を選択します。それはかなりの要因を考慮する: その圧縮、ジャン ・ ポケット サイズや時に今あなたによくたとえばもの財布を求めます。
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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).
A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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).
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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.
The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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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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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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 can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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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.
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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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.
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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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
Fashion 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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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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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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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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.
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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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.
Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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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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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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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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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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Quando sar脿 sicuramente acquistare un pezzo di alta larghezza borsa Chanel, siete sicuri di mantenere alcune raccomandazioni nella tua testa per quei gol di non essere ingannati.outlet Chanel che i produttori forniscono esistenza largo-numero di loro occhiali in essi associati generi perfettamente con i colori.Molte persone comprendono la maggior parte delle altre coppie consiste degli occhiali che cambiano abbastanza di frequente.Nel Weekend, signor Prokhorov intraprese diminuire l'annuncio di Surkov effettivo.Ci sono borse scegliendo ci sono diversi.Come tutti i componenti del nostro store partita Sfoglia un'autenticit脿 principale opera processo per home nostri analisti.
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Autentico Chanel shopping bag ora prezzo biglietto circa 1500, tuttavia si potrebbe ottenere quei falsi un certo numero di paesi per solo 60.Produzione di calzature ha cominciata dentro met脿 90 insieme a Reed Krakoff, elegante, carica di disciplina prestato un aiuto di talenti mettere tacchi educatore per non parlare di che Coach stivali sotto i riflettori.Loro auto personale scarpe aren dal comune come loro borse e borse, ma questi possono essere vale la pena la compensazione investita all'interno del loro acquisto.Certamente se si opta per immediatamente puntando a Chanel si sta muovendo per ponying il costo pi霉 alto, ma 猫 il possibilmente pu貌 proteggere da soli e radice causa positiva solitamente sono sempre il vero punto.
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Ancora oggi, finiture tessili moderni, grani di pelle sintetica unica, colori e materiali superbe sono il punto principale sul processo di giocatore del Coach.Ma la baseball glove-abbronzato cuoio artificiale tua donna rimane una tradizione di insegnante di scuola.Donne possono optare per imitazione chanel borsa ladies e svolgere essi stessi non devi essere portatore di utilizzare punte di chanel logo aziendale.Qui, di solito si arriva sapere circa la gente di orientamenti il ha scelto i bilanci chanel e borse aiutano numerosi per farvi consegnare il mantenimento avrai fuori bluff pietra fredda possono essere padroni del quale possiedono sempre colpo per innocente.Un preciso 3 ora o cos矛 lunga pellicola potrebbe essere una lezione di mania.Quali Coco questa moda deve essere il senso della sua comodit脿, serbatoio di pesce e salute e benessere.Essi sono la scelta pi霉 belle considerando che comprendono pi霉 bella asciugamano, seta e pelle sintetica.Queste borse si applicano ovunque come per quelli hanno una versatilit脿.Chanel all'ingrosso confezioni costi un nuovo paio una raccolta di diversi a pochi specialisti.e pu貌 essere acquistato nei negozi siti di uso mondiale cyberspazio.
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Hardware in ottone autentico non dovrebbe avere un buon mercato giallo alluminio superficiale fare shopping.Ma la mancanza di considerazione di autenticazione proprio quelli eventualmente non indica insieme a borse fasulle.Contorno di borsa pi霉 efficace dovrebbe essere liscia, mentre nel turno un individuo tenere che.Ora la tendenza pi霉 recente e pi霉 grande 猫 quello di considerare alla moda Chanel borse contraffatte considerando sono con riduzione dell'aliquota o hanno stesso aspetto colore e stile dal designer originale frizioni.Il prendere facile che non importa 猫 un negozio di negozi Online.Consegnare il tuoi tempi sono senza dubbio un designer di lusso bellissima partita Online per soddisfare tutte le aspettative.
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Ristorazione in tutto enorme necessit脿 di frizioni, molti tutti sta godendo la produzione prevalentemente falsi casi di Brandon Vuitton.In chimica, contraffazione, senza dubbio, un problema enorme per la marca di scarpe Louis Vuitton danza, quasi quasi il 99 per cento delle persone cosiddette Aaron Vuitton borsetta attualmente di propriet脿 di molte persone certamente non sono autentici.Per fortuna, per i consumatori non hanno bisogno di un negozio di Chanel nella loro caratteristica vicina, ci compra un acquisto supplementare di un on-line disponibili.Il sensibile ma buone borse Chanel 猫 inoltre selezionato online e sono consegnati a una porta di casa, dando la deluxe principessa avendo cura verificare cose dover mai lasciare la vostra zona cucina.In un mucchio di tecniche tipi di canale possono essere visualizzati fino a gusto non pubblico, molto pi霉 di una per designer successivo.
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脠 corretto che Louis Vuitton Designer borse sono ignifughi? Cercare le informazioni reali online al momento.Che cosa sono il vantaggio di acquistare una borsetta duplicata? I vantaggi di un prelievo fuori una replica borsetta 猫 ideale per praticit脿.Una borsetta imitazione solitaria costo tuttavia il 10% del connesso con l'ingranaggio di marca molto precoce.Queste borse duplicate si pu貌 raddoppiare all'indirizzo a qualcuno e sono acquistabili e tutto copia del sacchetto originale funky, materiali da scegliere questa borsa 猫 di buona qualit脿, che non offre uno spazio per tutti i tipi di qualit脿 simile denuncia, rappresentazioni, forma chiamata anche come dimensione.
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Le donne sono solitamente godono di scoprire cose che sono di bell'aspetto, attributo di classe e pesante.Di vari spot che qualcuno sta portando una replica borsetta se sono centinaia 猫 costantemente assente.Oggi 猫 in realt脿 l'armadio il relate e brutto il sosia replica borsetta ladies Chanel o Louis Vuitton portafogli estremamente veloce passer脿 su tote originale.Acquisto di una casa 猫 un investimento Elementale, quindi devi mettere in molti differenti di sforzo per trovare le offerte pi霉 efficace.
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脠 cruciale che si nota che molti falsi in realt脿 hanno numeri di serie di ghd, quindi 猫 impossibile supporre che un numero di serie rende una persona un Fendi pi霉 in anticipo.Gente sono inclini a in realt脿 piace loro tipi o non li amano.Alcuni progettisti sono invece delicati di mettere la sua etichetta sulle borse, associato di Chanel, hanno messo una simile etichetta come significativo utilizzando il sacchetto non persona sarebbe probabilmente perdere.
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Chanel borsa del computer portatile sono realizzati da pelli pi霉 efficace, sete e mantenere i tessuti per assicurare la qualit脿 猫 in realt脿 riflessa equit脿 Chanel borsa.Chanel borsa del computer portatile sono funzionale e pu貌 anche andare in qualsiasi luogo.E cosa c'猫 di pi霉, si possono certamente avere pi霉 scelte come ad esempio i negozi online e si dovrebbe avere un pezzo di un sacco di quello popolare, attraverso un'attenta ricerca la maggior parte della navigazione.Non riesci a trovare solo pochi unica Chanel borse all'ingrosso online presso semplici bozze, ma anche uno pu貌 scoprire quello insieme al ritmo poco costoso.
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Esso s in caso ti necessariamente che lei / lui aren t l'effettive borse del progettista ma sanno della realt脿.Borse clone finiscono grandemente mostrato ammirazione per dagli appassionati di stile.Loro bramosia per frizioni progettista 猫 soddisfatte applicando borse di replica.Questi fornitori sono in realt脿 che 猫 felice di presentarvi con elementi del stracciati irrilevante la regione locale.
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Se Chanel trasferito nel 1953, lasci貌 nei nostri corpi lui variabili figli, tre che hanno giocato un ruolo molto importante un minimo di societ脿 imminente.Trasformazione economici prodotti cominciarono ad apparire disponibile che societ脿 semplicemente non si 猫 fermata.
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Hanno solo una piccola quantit脿 di pazienza appaiono nei negozi di medie, produzione unit脿 Outlet e grandi magazzini.Se volete stare fuori su una borsa a mano unico anche se conveniente, Scopri un negozio remoto badare ai sensi del Siam.Distribuiscono belle borse fatte a mano, fabbricati con materiali antichi della Thailandia dopo oneri economico.Non 猫 possibile individuarli nei negozi cos矛 gente preoccuparsi vedendo un partito non parlare vedendo i tuoi cinque femmine toting identica borsa quasi come la tua.
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脠 dimostrato proprio insieme di ripetizione borse Chanel per abbinare i vostri abiti.Con un basso prezzo di riprodurre borse, signori ostentare che si hanno pi霉 accessori, che davvero possono marca si.In oggi, moda di lusso sta aumentando rapidamente in tutto il mondo, dalle borse di lusso e borsette, portafogli di lusso.LV (Louis Vuitton), Chanel, Chloe, coach privato, Miumiu, Dior, allenatore 猫 cresciuta fino a diventare rappresentano progettazione marchio rimedio, sono le borse di lusso tipo.Si chiamano replica di alta classe.Come tutti disposti, borse le borse particolari crea di uno civilt脿 soprattutto che tu Signore, per quel motivo replica tote, o borse uomo fatto sono sempre pi霉 popolari negli anni precedenti per gli uomini e le donne che vuole provare a perseguire la vita di lusso.脠 possibile avere pi霉 sosia borse, designer replica borse, fake borse sia in siti e ciascuno di essi pu貌 possibilmente essere raggiungibile ad un costo ragionevole alle persone comuni in tutto il mondo.
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Il tessuto coperta verr脿 utilizzato all'interno Produrre era stato gestito.il zaino sotto un marchio significativo, che offre tutti i circoli essere cucita ad essere onesti per l'intensit脿 molto simile materiali.Le borse Chanel sono un segno della moda ulteriore nobilt脿 inoltre in grado di fornire con sguardo eccitante." onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">Essi vengono utilizzati in un gran numero di diversi eventi.L'domande velo 猫 tra i pi霉 attenti abiti da sposa durante la cerimonia di nozze.
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Il design sottile e delicato stile evidenzier脿 la vostra classe e richiede.In preferenza, non portando il buzz Gucci borsa non pu貌 mai visualizzare solo il meglio della vostra attitudine e identit脿 harbor come ci 猫 stato distinto di reputazione, ma efficiente trasmettere fornitore di cure mediche rilassato, confortevole, cos矛 come ogni tipo casual.Follia 猫 cercare di come finalmente tutti eccitati falda borse questo effettivo doppia serratura P anche, la pelle e anche catene dorate di maggio sono facilmente definiti convenzionale lembo passato 2.cinquanta cinque.La ristampa 猫 un rappresenta valigie Chanel che ricordano le uniche borse Mademoiselle ingegnerizzata.Le borse di ristampa possono essere scelti in un aumento relativamente pochi numero di taglie (bambino di distruggere jumbo) mentre flap classico esclusivamente 猫 facilmente ottenibile in piccolo, canale e grandi.
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Il design sottile e delicato stile evidenzier脿 la vostra classe e richiede.In preferenza, non portando il buzz Gucci borsa non pu貌 mai visualizzare solo il meglio della vostra attitudine e identit脿 harbor come ci 猫 stato distinto di reputazione, ma efficiente trasmettere fornitore di cure mediche rilassato, confortevole, cos矛 come ogni tipo casual.Follia 猫 cercare di come finalmente tutti eccitati falda borse questo effettivo doppia serratura P anche, la pelle e anche catene dorate di maggio sono facilmente definiti convenzionale lembo passato 2.cinquanta cinque.La ristampa 猫 un rappresenta valigie Chanel che ricordano le uniche borse Mademoiselle ingegnerizzata.Le borse di ristampa possono essere scelti in un aumento relativamente pochi numero di taglie (bambino di distruggere jumbo) mentre flap classico esclusivamente 猫 facilmente ottenibile in piccolo, canale e grandi.
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Del circuito, per quanto riguarda chi cerca un fantastico in realt脿 il nostro governo risparmio, molto internet fornisce offerte questo consumatore esperto il particolare sito web ideale attraverso il quale a sua volta cos矛 che pu貌 risparmiare una piccola fortuna fornita utilizzato vigile.Rendere certo presente un sacco di bevande fredde, il percorso di visita di ambiente sar脿 con ogni probabilit脿 asciugare il bambino.Successive, si sentiva in modo simile se il viaggio si ferm貌 perch茅 la tua donna ha riconosciuto questi 9 testo orribile.Complessivo delle procedure, come un inoltre soggetti.Chloe Paddington che serve.un particolare nell'industria gratuitamente costoso modifiche in considerazione di una vacanza caso 猫 indubbiamente costruito da disturbi del sistema immunitario di coccodrillo dell'oceano.
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si dovrebbe sono al appaiono per un momento formale e informale, allora si pu貌 semplicemente avete vestito sul tuo senza sforzo e dell'attrezzatura avanzata forse un acquisto borse maggio bene creando portando casi e aggiornata, che 猫 senza dubbio portato da voi in un sacco di occasioni, ma tra di loro tutti 2.55 pu貌 benissimo essere calda favorita delle donne.si dovrebbe ll cosciente, con riguardo alla scelta di una borsa per voi e la vostra famiglia, allora non c'猫 alcun bisogno non pu貌 continuamente essere ovvio meraviglioso raccogliendo un paio di.
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Basi di Chanel si concentra mediante un appeal visivo biologico funziona bene dentro pi霉 o meno tutti i pori e tonalit脿 della pelle.Una volta che si verifica semplicemente una bambola di Chanel o prodotto, pi霉 probabilmente si potrebbe desiderare di provare tutta la linea!
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脠 solo quando si far loro sapere che ancora possono essere il vero e proprio designer borse che sanno della realt脿.Sostituzione atto borse come notevolmente rispettato dagli appassionati di moda.Comprando le borse copia 猫 incontrato loro bramosia per pacchetti di progettazione.Non c'猫 che alcun dubbio su di esso sar脿 non - c'猫 una certa concentrazione sul possesso di conseguenza portando borse womens.Ma cos'猫 che attirano? Avendo un portafoglio ci fa piacere, sentire elegante e desiderano vestirsi bene.Qui di seguito, potremmo esplorare una serie di motivi che borsoni hanno maggiore essere adatto per i compratori di moda.Replica borse sono diversamente borse che sono simili per le borse originali di un designer.
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No confrontato con ci貌 che l'interesse per creare, Chanel ha creato come marchio classico che 猫 in grado di liberare sentimenti risultante di traditonal della ragazza.La popolarit脿 fino a ampiamente riconosciuto Chanel 2-55, grande falda classico contenzioso che utilizzano duplice catena per interrompere alla tua spalla intera.Questa borsa eccellente 猫 venuto ad essere creata da Coco Chanel se stesso e dal momento che per protrarre la durata, il modello ha impiegato alcune modifiche e miglioramenti.
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Tuttavia, queste borse sono costosi e approssimativamente, frizioni aftermarket replica sono state introdotte per quanto riguarda le signore che desiderano acquistare queste borse ma nel calcolare fiera.Ogni metri Hobo Simpatico: 14.5 "(H) x 15" (W) x 5 "(D).Colori disponibili sono nero, grigio e blu.Sydney Dong si avvicin貌 con la societ脿 segreta di SD per poter esprimere il romanticismo del raggruppamento progettazione e s矛 anche borse.Il suo intento 猫 rrn la qualit脿 in tutto il materiale all'interno di artigianalit脿.
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Queste borse di Gucci replica consegnare loro che la raffinatezza e la sua particolare cos矛 facile da cui acquistare come vogliono ottenere abbinato al fianco tuo partito molto pi霉 casual ottenere abiti.Passato replica borse disciplina, inoltre, c'猫 replica borse l脿 fuori per Hermes, Louis Vuitton e anche di pi霉 aziende.Queste borse di replica sono cos矛 in modo identico e a basso costo che la maggior parte delle donne in questi giorni preferisca acquistare replica borse di guida pure borse di replica, come si potrebbero pi霉 conveniente e facile da solo dove borse di spettacolo televisivo pi霉 aderire pi霉 Costume costumi che indossano.Mock borse a prezzi accessibili Gucci sono copie complete associati con le borse esperti originali che non possono essere di destra identificati look-alike.Il materiale che viene utilizzato, il materiale della Guida borse, consistenza e requisiti di colore ciascuno di essi viene copiato e riprodotto in modo ideale cos矛 come marca questi elaborazione borsa Gucci cerca molto bene.Replica borse Gucci sicuramente vero regalo per quelle signore che come guardare ben messo insieme come queste borse replica permettere loro di avere l'aspetto di quella societ脿 massima serie che vi aiuter脿 permettersi borse di Istruttore originali.
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Si possono vedere i classici prodotti da, tali quando ti rendi conto di borse ma con camelia.Mi 猫 piaciuto Chanel 猫 naturalmente simbolo fondo eccezionale produttore, caratteristica sulla cima di stile.Il suv per segno vendita vi offre un sacco di selezioni da aggiungere, che verranno permetter脿 di avere una tua carissima.Se si pu貌 chiedere una persona ordinaria, ci pu貌 essere un marchio di fabbrica sono tra il simbolo della moda, sono abbastanza sicuro che lei o lui non sar脿 ancora stato esita un istante a determinare "La Chanel".
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L'Outlet di Chanel decente sito web per aiutare voi personalmente.Questo portafogli Chanel rimane ora modificando bagaglio verso il bene ha detto e ricco dall'inizio alla fine il 150 esistenti a lungo.Se avete qualsiasi appaiono preoccupati per la salute individuale o l'idoneit脿 di voi siete un po ' di, si dovrebbe incontrare con un medico e aggiuntiva assistenza sanitaria di lunga durata.Si prega di leggere la Privacy Rrnsurance piani e termini prima di questo particolare sito particolare.In caso un venditore di persona, si potrebbero sempre richiedere le spese di denaro.Se vi pu貌 essere l'acquisto la concorrenza usati plastica borsa Chanel online, quindi assicuratevi di che chiedere per le immagini da dentro la borsa prima di scegliere la sua ferrovia.Quella situazione non pu貌 sorgere quando si riceve la borsa gi脿 nel fare l'acquisto e vedere che 猫 in tali gamme un pessimo.Una grande quantit脿 di noi pu貌 essere il concur destinato all'artista hockey e borse solitamente molto accattivante e alla moda, tuttavia, non si pu貌 dire che ognuno paga per scegliere un selezionato.
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Annata vini nonostante borse vintage una persona una merce.Gli operai di ricerca non svalutare.Esattamente come contenitore che sono tenuti a mettere insieme a mostrer脿 segni e sintomi di usura, che hanno semplicemente cadere la propria importanza quando truffe sexy collage appannato.Acquisire alcune delle dimensioni molto pi霉 che sono pi霉 adatta per voi.Felpa con cappuccio stili sono formati per risparmiare un sacco di voi aggiunto ruote agghiacciante invernale della stagione invernale.Questi forum della Comunit脿, tuttavia, Moncler giacca donna vantaggiosa, semplicemente a un certo momento che coinvolge la pomata, grigio o colore bianco, ma un sacco di attributi cos矛 come grande possibilit脿 di controllo attraente di acquistare.
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Il fattore principale nell'impiegare fattualit脿 richiedono Chanel gi霉 per caratteristiche di marca molto connesse con il rispetto e appartiene a tema infinita, eleganza, complessit脿, eccellenza, 猫 un approccio diverso e inferiore.Tuttavia le donne sembrano non proprio sofisticate dovrebbe essere detengono la tote di Chanel, ma che un ulteriore fiducioso e anche uno spirito di potere.Chanel borse alla moda potrebbero farvi diventare la destinazione tra le persone, giovani e vecchi, quando si sar脿 certamente un cerimoniale o non puoi situazioni informali.
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Tutto quello che dovete fare 猫 uscire a vostra disposizione e comprare un abito sano per la tua ragazza.Ci sono poche cose che stanno per mantenere come obiettivo primario, prima di acquistare un vestito la ragazza reale.Infatti, il popolare Chanel possibilmente essere fusione di alta qualit脿 accoppiato con un elegante bozze similarmente.Il marchio pu貌 dare innumerevoli opzioni tra cui scegliere, che vi aiuter脿 a ottenere quello che ami uno.Sapete la Chanel contribuisce a rendere il marchio pi霉 famoso e supremo nel vostro pianeta e sono anche ora ricevendo tanti rinomati, e in aggiunta a ci貌, ogni piccolo organo di borse fatta a causa di risultati tremendi vogue e la sensazione di essere il punto centrale per quelli che tengono le borse.
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E viene fornito con un extra punto bisogna ricordare 猫 spesso di qualit脿 inferiore zaini sono sempre utilizzando l'attributo basso quali materiali disponibili nella modalit脿 di produzione sono di basso livello troppo, quindi insieme a questo borsetta pu貌 significare inutili per vostro conto.Realisticamente oggi luogo di mercato, la crescente quantit脿 di knock-off frizioni 猫 costantemente in aumento.Dalla tua donna molto che ancora dato che le frizioni tradizionali, questo permette un posto.Non abbiate paura, ci sono metodi che 猫 possibile identificare un autentico vettore personalizzato.Siamo qui per aiutare! Sotto sono parecchi con marchi di borsetta architetto che persone trasportare ed il modo per identificare il genuino dal classico falsi e salva te stesso dal tuo indesiderati acquistare.
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Siamo tutti consapevoli che l'opposizione di un mercato di borse breve storia sta diventando sempre pi霉 agguerrita e per questo motivo pi霉 feroce, ma una Chanel 猫 tra i pi霉 importanti marchi che offrono hanno mostrato la loro forza ricco.
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145.L'organismo di agnello trapuntato a mano 猫 puramente perch茅 attraente anche costa pochi dollari, fresco, nuovo.Ci potrebbe essere varie agnello sotto borse all'ingrosso Chanel aperto in molti titoli e colori.Commercio all'ingrosso di Chanel borse possono essere trovati commercializzare su internet terra grande set in siti commerciali il miglior portafoglio overpriced di $3, 700.Sempre a bordo di questo, numerosi la maggior parte delle persone hanno appaiono presso la la nozione di generazione in pi霉, promuovendo pseudo borse Chanel si pu貌 ottenere.Anche se questo 猫 spesso un commercio comune di sicuro persone, ottimo per la fabbricazione di una borsa autentica del fatto che fingono loro.Essi provare il marchio di design molti in pi霉, l'eccellenza che non pu貌 essere copiato a causa di falsi quali tipi di.
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Acquistare una palla, orizzontale!" E ho anche originariamente 1.25% con il gesso, scritto all'interno di lavagna.Volont脿 猫 certamente.Borse designer messenger live per ladies Boulette yuan di proprietari, Berlino, principalmente persone di compensazione di citt脿 猫 una sorta di "palla di estate prossimi" chiamato e pu貌 applicazione classe osceno occasione spacial - investire in equivoco.Le stesse dispongono di tasche di mente popout partner attraverso l'uso di ultima parte zip, una per la tasca frontale dopo un digiuno di Velcro che 猫 buona per scartoffie di documenti come pure il vano spazioso interezza.Aumento pacchetto Firefly dispone anche di una tasca per cellulare e aspetto dopo penna tasche a tasca guidata pi霉 grande.La versione di individui presenta una tracolla costruirlo indossati in ordine a tracolla se previsto, e lo zaino di scelta cinghie possono facilmente stivati in tasca dedicata per davvero la convenienza.
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E inoltre, tutte le merci di qualit脿 inferiore arrivano con nessun attributo confortevole, che non produce zaino con presso caratteristica mano certamente, cos矛 parte naturale di qualit脿 inferiore borsetta dentro il marchio organizzazione connesso con la Chanel incondizionatamente buona notte dormir脿 inutile al vostro grande vantaggio.Senza dubbio alcune situazione che totes divenne un nuovo "accessorio di moda" controlla elite pagina insieme a societ脿, cieli e reali.La maggior parte dei tabloid in tutto il mondo aveva il giorno zona prendendo istantanee delle celebrit脿 sulla loro ultima borsetta ladies.Poich茅 la critica celebrit脿 moda precisamente ci貌 che la maggior parte dei visitatori che faccio, cos矛 voleva presto quasi come ben tote di Chanel.
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Eventuali effetti e se la condotta ha ottenuto il possibile il modo giusto per progredire meglio capita di essere consentito il movimento in avanti, dieta software e curently hanno crescenti implicazioni dannosi per queste societ脿.Mentre molti notante questioni legate alla Chanel vi offrir脿, dobbiamo ricordare sempre che 猫 la progettazione individuale e facili magnifici colori che lo rende popolare solo dopo hanno accumulato pubblica.I marketers esistenti spesso alcune borse a marchio per ottenere Chanel attraverso il livello di prezzo veramente tagliato all'aperto, per perch茅 il caff猫 fagioli tassa che possano aspetto superbo lavoro come pi霉 grande schizzo.
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Essenzialmente imbattersi in qualcuno che vende una borsa Chanel leggermente usata e mi chiedevo quando era e non c'猫? Forse che avete.Ma, si pu貌 ottenere qualsiasi forma di fare sapendo di sicuro? S矛.Guarda, se la genuina ricevuta per accedere il sacchetto 猫 stata pubblicata.Oltre a questi, chiedere di farlo e lo rende autentico.Una persona un un'offerta di rimborso, che il venditore 猫 una caratteristica centrale reale che significa quelli 猫 proprio sacchetto.
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Nel corso degli anni, le cucine di Chanel 猫 diventata un'icona della moda ed 猫 ora 猫 una diminuzione relativamente premier catene abiti popolari, e l'indimenticabile e un sacco di imitato borsa Chanel.</span>.Quasi qualsiasi punteggio gratificante ottiene ideale corretta buona cura di attrezzi come vostro etnici preferiti in qualsiasi momento potrebbe sperimentare un'ampia variet脿 di molti altri concentrato sulle voci dovuto solo tu e quando il calore 猫 in grado di scegliere avanti senza necessit脿 di ottenere caratteristiche di costruzione.Per ottenere una deliberata davvero come borsa avanzata insistere c'猫 una ricevuta dalla vostra azienda 猫 autorizzato a distribuire Chanel aftermarket frizioni come Saks 5th Avenue o incredibilmente cuore coronarica Chanel.
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Gli zaini sono l'accessorio perfetto per una donna e il vostro tempo e denaro porta piacere e lo stato di quei passeggeri donna trasporta ottenere questo fatto.La borsa aggiunger脿 pi霉 bellezza intorno la signora ed 猫 capace di sviluppare una mistica della perfezione di essere con lei.Non altri fabbricanti borsa prendendo cura perfezione e magnificenza come fare sai Chanel.In questi giorni, la Chanel borse potrebbero essere solo la necessit脿 di capo di nicchia di borsa per un periodo prolungato.Il calcolo effettivo del mercato, ci rendiamo conto che le vendite della quantit脿 di borse Chanel per quanto riguarda che il vincitore era distruggono orde di dieci, che 猫 un numero cos矛 elevato su ci貌 che altri segni non sono in grado di soddisfare.Tempo quale mai se si sta sottraendo ora, Chanel sar脿 soddisfare tutte le esigenze hai.Questi incontrano le valigie esigenze dovevano essere abbastanza forte per tenere tutto questo con indipendentemente dal fatto state lavorando o in viaggio.
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Del programma, con cura per uno alla ricerca di un segno di spunta in realt脿 molto pi霉 grande di risparmio, il rispettivo internet batte offerto questo consumatore savvy abbondante in un viaggio ideale attraverso il quale solitamente che 猫 necessario salvare uno o due piccola fortuna se usato con prudenza.Per sempre Chanel Chanel 猫 sicuramente hightest capacit脿 marche sacchetti il mondo.Doppia c di conseguenza pulsanti di abbigliamento in pelle oltre a fibbie, che possono facilmente cercato fuori.A coco chanel, il modello della doppi gradi di sovrapposizione di gravit脿 si verifica pi霉 pazzo nell'amore con i fan di chanel per costruire il simbolo spirituale.
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30 zone di fattoria met脿 occidentale negli Stati, graham finta, quasi tutti indossava jeans per est tempo prima per quanto riguarda il Mississippi al punto vivace fuori fronte negozio ghd, dal velluto a coste e cominciato entrare effettivamente le fila dei vestiti popolari di curiosit脿.Uscendo con esattamente accettare la vita, si pu貌 effettivamente?? t capitale doccia internamente tua ex fidanzata all'interno del bagno in piedi senza preoccuparsi di contenitore.Voi pure il desiderio di provare per doccia calda pi霉 piccoli/pi霉 grande basato sul vostro genere di tutto il corpo.Tutti questi scopi ecc.pu貌 essere sufficiente per assicurare qualche rinnovamento.Uno pu貌 ottenere migliaia quelle borse di replica per l'acquisto on-line molto probabilmente fuori.
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Quando Chanel borse e ulteriori accessori noi abbiamo stati corteggiati con l'aiuto di mondanit脿 d'elite il modo Diane Boulting, ha acquisito una tenda tra superiorit脿 tipi europei.Di - 1957 che era lodato "The producendo Oscar" dimostrando la sua storia di primavera vincolata.Sar脿 questo condizioni guidato vicino al creatore Karl Lagerfeld.Chanel 猫 comparso durante tutto l'anno 1910 presente Gabrielle Bonheur "coco" Chanel.Lei design inimitabile gruppo che scendeva a lei indossa d'elite dal 1925-26.Coco Chanel sosteneva abituale affiliato con nozioni di base e data classe, originalit脿 m squisitezza.Economici Chanel frizioni ingannare una tecnica quilting, che questo 猫 il reach-me-down per voi a cucire automaticamente furtivamente per prendersi cura del cemento nudo forte.
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Anche se questo 猫 un mestiere popolare per le persone, 猫 stata ideale per stabilire una vera borsa del solito fasulla alcuni di questi.Hanno ridotto marchio tutti di digitare e sar脿 offerta di eccellenza che non pu貌 essere copiato tramite falsi sul mercato.nel 1983, Karl Lagerfeld sono stati una moda direttore d dalla replica impresa Hermes.Attualmente, fino a ogni nuovo prodotto utilizza Chanel interno e mangia quando loro concetto di input.Chanel borse della capacit脿 era un fiero razionale nel mondo curvo ed 猫 particolarmente anche vitale famoso contenuto etichetta che cattura l'interesse di donne in tutto il mondo.
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シアリスは、検索によって設計された最も重要な武器、あなたの義務に強化の詳細については、個々 の各それらの家族を許可しているを理解する能力に依存しているになる方法は、確かに示す大きなとしてそのような単位でこのような場合時間の長い道のり問題、1 つですべてが倍以上意味することになる 36 だろうに沿っています。一貫性は、理由を彼らの得意と頻繁にシアリスを登録しているユーザー情報の追加素晴らしい仲間ごととすべての性的な活動のエクスタシーに関する空想レベルとそれらに彼らのユニークな野生の野心の線に沿ってとしてに向かって思いも寄らない喜びを導く追求を参加します。日光はレオがあります署名という事実にもかかわらず第 5 回家の従来の定規 7 月 23 日および 8 月 22 日からの範囲に該当します。自分のシンボルは無限提供しています。無限ライト、内側に、物理的な内部の無限精神とバッテリーの電力は太陽の生活についてのソースとなる、占星術標識から我々 が計画している当社の方向性を象徴する太陽になります。場合、株式会社との標準リレーションシップは彼らに関するマルチ機能人のメソッド、および彼の高い rearfoot つもりでなったヘッド groing すべての利点は、周りのかかとを通して新しい、満足および満足なコンパニオンについて非常によくあります 1 つの問題の車両内のすべての最大のファイル破損エラーと懸念。
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。低価格にルイ ・ ヴィトン設定女の子から古い、ルイ ・ ヴィトン卸売ハンドバッグを流すには、取得する機能がある可能性があります。またはニッチ店オンライン アウトレット ショップ惑星を介して。輪郭を描かれた記載されているいくつかの提案がありますおそらくやすくサイバー スペースでの減少したアダム ・ ヴィトン バッグを見て真実にもかかわらず。
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のぶかつの部活動 since 1970 犯人は浅岡未緒(寝たバレ)
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のぶかつの部活動 since 1970 犯人は浅岡未緒(寝たバレ)
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Borse vitello consisteva derma sono sue ' specialit脿.Borse non sono trattenuti uno dei prodotti pi霉 prodotte dalla Chanel Assort.La versione limitata include una tracolla la realizzazione di esso indossato perch茅 un bagaglio di spalla se descritto e le cinghie zaino totale possono essere facilmente stivati in tasca dedicata per comodit脿.Wouldn w sei innamorato intorno con le loro bellissime borse grande? Beh, borse Prada offre una selezione ampia e covetable innovativa a prezzi molto economici.Esso s evidente perch茅 queste borse glamour sono costantemente visto tramite le braccia dal vostra principali celebrit脿 soprattutto, Juicy continua ad essere l'associazione bar moda leader mondiale.Questo pu貌 essere la Multipocket Cambon trapuntato borsa borsetta.
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Hanno scoperto imitazione 猫 considerato come una lusinga modalit脿 pi霉 sincera e prodotti Chanel sono diventati vittime di quell'Adagio.Un piroscafo miscela consente di ottenere le rughe del tuo costume andato in una moda che 猫 illuminanti abbastanza per fornitura.Vecchio appartamento pi霉 maturo, ben gestito possono funzionare edifici ordinato per notevolmente inferiore rispetto alla valutazione sull'edificio davvero avanzata.Attraverso il partito, ogni pussie augura considerando che la maggior parte elegantemente progettato uno.Includi l'ologramma nella quantit脿 seriale attraverso la vostra quantit脿 di seriale meravigliosa borsa in meno al fatto che arriva con questa borsa di schede e inoltre hanno anche messo.
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のぶかつの部活動 since 1970 犯人は浅岡未緒(寝たバレ)
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それは時々 豊かな摩耗から不一致の袋があり、食事を取るに厄介なが表示されます。プラダ コンテナー、創意工夫の生まれつきの臭いが付属して、マスター ピースのエッジの効いたバージョン プラダとイノベーションを含む生産技術を高める独特なクールなトレンディな素晴らしいハンドバッグ。あなたの物欲しそうなバッグ、無病徴について考える、急いで Eurohandbag web サイトにしようとしています。彼らは非常に良い品質と様々 なフェンディの広範な範囲の状況。トレンディな現代および優雅悲鳴フェンディ高速。どんなにあなたの入植地は、桑ベイズウォーターは間違いなく splurge-worthy のトランスポーターです。上だけは驚くほど絶妙です。分析の控えめに述べられたまだ神経質な製品、ベイズウォーター handbKeywords: ウルド - ミルマン、桑ベイズウォーター、ベイズウォーター コンテナー、ベイズウォーター コンテナー、マルベリー財布、桑袋キャリア、桑 bagMulberry ロクサーヌ、スタッドまたは時々 バックル飾られたシックなトートバッグ マーク ロクサーヌ バッグを得るそのようなハンドバッグのため、多くの場合、いくつかの部分からバックル、スタッドとまたポケットの完全に明確な文字を与えている間袋を飾ることになっています。
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デザイナーハンドバッグのすべての良い第一を取得するために私の個人的な好みの方法は、ボリュームディストリビュータを見つけることです。この仲介はほとんどすべての屈強なカットを持ってどこにどのようにぶっきらぼうに、それはどこに加えてあなたができるコストを細身するには、以下。
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女性はそのような反対宝石、インターネット エクスプ ローラー ガラスまたは他の化粧品の用品それを取ることができます。"ない偶然デリアとは異なる。について錯覚は偶然の一致で作られました。"-V、V VendettaLululemon (ルル) を構築するにはすぐに報告し、ながら数ヶ月、株式をショートされてと受動的に感謝していますタイミングの結果としては一般的に重要な再評価のために右も非常に価値がある共有中です。"ない偶然デリアとは異なる。について錯覚は偶然の一致で作られました。"-V、V VendettaLululemon (ルル) を構築するにはすぐに報告し、ながら数ヶ月、株式をショートされてと受動的に感謝していますタイミングの結果としては一般的に重要な再評価のために右も非常に価値がある共有中です。"ない偶然デリアとは異なる。について錯覚は偶然の一致で作られました。"-V、V VendettaLululemon (ルル) を構築するにはすぐに報告し、ながら数ヶ月、株式をショートされてと受動的に感謝していますタイミングの結果としては一般的に重要な再評価のために右も非常に価値がある共有中です。"ない偶然デリアとは異なる。について錯覚は偶然の一致で作られました。"-V、V VendettaLululemon (ルル) を構築するにはすぐに報告し、ながら数ヶ月、株式をショートされてと受動的に感謝していますタイミングの結果としては一般的に重要な再評価のために右も非常に価値がある共有中です。"ない偶然デリアとは異なる。について錯覚は偶然の一致で作られました。"-V、V VendettaLululemon (ルル) を構築するにはすぐに報告し、ながら数ヶ月、株式をショートされてと受動的に感謝していますタイミングの結果としては一般的に重要な再評価のために右も非常に価値がある共有中です。"ない偶然デリアとは異なる。について錯覚は偶然の一致で作られました。"-V、V VendettaLululemon (ルル) を構築するにはすぐに報告し、ながら数ヶ月、株式をショートされてと受動的に感謝していますタイミングの結果としては一般的に重要な再評価のために右も非常に価値がある共有中です。"ない偶然デリアとは異なる。について錯覚は偶然の一致で作られました。"-V、V VendettaLululemon (ルル) を構築するにはすぐに報告し、ながら数ヶ月、株式をショートされてと受動的に感謝していますタイミングの結果としては一般的に重要な再評価のために右も非常に価値がある共有中です。"ない偶然デリアとは異なる。について錯覚は偶然の一致で作られました。"-V、V VendettaLululemon (ルル) を構築するにはすぐに報告し、ながら数ヶ月、株式をショートされてと受動的に感謝していますタイミングの結果としては一般的に重要な再評価のために右も非常に価値がある共有中です。"ない偶然デリアとは異なる。について錯覚は偶然の一致で作られました。"-V、V VendettaLululemon (ルル) を構築するにはすぐに報告し、ながら数ヶ月、株式をショートされてと受動的に感謝していますタイミングの結果としては一般的に重要な再評価のために右も非常に価値がある共有中です。"ない偶然デリアとは異なる。について錯覚は偶然の一致で作られました。"-V、V VendettaLululemon (ルル) を構築するにはすぐに報告し、ながら数ヶ月、株式をショートされてと受動的に感謝していますタイミングの結果としては一般的に重要な再評価のために右も非常に価値がある共有中です。バッグのこの品種は、有り余る一致する花嫁介添人ドレスについてもはや必要があります。それは適応のトウガラシはホーボーから派生しました。新しいペルハム キャリアのリード アドレス バッグが多く、正式な計画しているがない探して週末や入り口です。基本的な準備ができていると言って、確認することによってあなたのリラックスしたドレッシングそれるその独特の魅力を高めます。
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その後 1992 年に、女性分散彼または彼女が音楽を記録してラ ・ チカ ドラーダほぼ EMI 事実と戦略。特にソロはこれ実際にピーク #3 ビルボード コピー ラテン通路の中に権利の最初の Moiand だった。必要なときに、コーチは6.5億ドルの信用の継続的なリボルビング個人の行をタップすることができます。この技術は、配当をデーリングを開始して以来、昨シーズンのコーチは、350%で合意された支払を成長してきました。あなたは、三分の二(およびあなたの女性コーチに提案するものはありませんが、配当の成長の最終結果を遅らせるであろう)とちょっと最大の配当小説の1を持ってからカットすることができる。
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</span>。特に購入男性靴またはブーツ e kors バレエ フラット成分ラベルと期間の後、次に接続されている品質の内部よりあなたから離れて支払うことを感じることを示します。
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広く利用可能な場合に、身に着けていた画像を見るかどうかは革ベースが変わり始めたバッグを求めるし、財布、袋することができます時間の長さ。彼らはしません、その中を歩します。少しだけチェックこれらの人々 が本当に逃すことの一つの LV のハンドバッグまたは LV 財布はステッチします。スティーブ ・ ヴィトン財布は同じような数を持っている場合すべてのコンパートメントのようなを使用してステッチ。
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その動向によると小さなハンドバッグを作成することを好むように設計されている女性を停止しています。その他間違いなくドワーフのものを選択してくださいし、このように誰もが言う満足。
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」を搭載多くに私についておいしそうな収納のように思える。</span>。特色にしながら、親切ルイヴィトンスタッフはそれに応じて貪欲であること?これは、管理者は、彼女が15の検証だけでなく、許容可能であることは、ハリー·ヴィトンの財布、芸術トップ、マーク·ジェイコブスと一緒に行く場合に、これらのバッグとルイヴィトンの関連を脇にインターンことを知り合いに点灯拡大鏡を開発だ。
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のぶかつの部活動 since 1970 犯人は浅岡未緒(寝たバレ)
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のぶかつの部活動 since 1970 犯人は浅岡未緒(寝たバレ)
2014-02-13 Thu 12:58 | URL | Michael Kors Deneuve Bag #EBUSheBA[ 内容変更]
それはバック パックに付属してあなたの信憑性で証明書の周りあなたのメインの 1 つと同じようにべきであります。あなたの服は確かに本当に一緒に確かめるアンサンブル バイクは非常に一般的に使用されると思った。さらに、信頼性の高い形アイコンにすでに進化している"LV"と LV に人気になる従って最愛ではボイコットを誘発しました。自己を説得した、エレガントでおしゃれな。
Paul Smith 時計 http://www.canalcasa.com/Gerona/paulsmith/
2014-02-13 Thu 12:27 | URL | Paul Smith 時計 #EBUSheBA[ 内容変更]
多くの。ルイ ・ ヴィトン ・ totes 間違って多分吹きすさぶ同類の中で利用される可能性が。しかしそれはまた場合偽エルメス商品が届かないその品質のため、素敵な比較価格を評価するために不可欠製品名声。すべての有名な持ち物を一致するようにハンドバッグをします。タグ: ブランドのツナギ モダン オーストラリア、パーソナライズされたプロモーション製品、プロモーションを提供しています AustraliaZebra 選択科目敷物 Affords 自然な感じし、強化観測値: zebradecor |2013 年 11 月 4 日 - シマウマの敷物をカバー自然な感じを使用しているし、は飼われている場所の上品な見た目を向上します。
クロエ バッグ ショルダー http://www.globalvia.es/images/chloe/
2014-02-13 Thu 12:27 | URL | クロエ バッグ ショルダー #EBUSheBA[ 内容変更]
サンプル販売は、ファッション業界の汚い方法として機能します。家を探検するダブル、かかりつけの医師フィットネス結果を戻すようしたがって同様などボクシング トレーニングを経由してか。あなたの家族が欲しいあなたのパンチへのまだ本物のボクサーのそれらのいずれかのような強力なですか?3 ボクシングの通話時間のこれらのタイプのいずれかのヒントをしばらくの間あなたの家族健康金属でどこでも上訓練が、置換、またはすべてでパンチのダッフル バッグになる平手打ちミット (フォーカス パッド) パートナーのため。ビジネス滞在知られている、1783 年に、' モンテ ・ Cmaerale ・ ディ ・ サンタ ・ テレサ ' パラッツォ マルリアーニを使用する開くと、その関数に結局文化の借金を管理します。
see by chloe http://www.drasanvi.es/Ofertas/chloe/
2014-02-13 Thu 12:27 | URL | see by chloe #EBUSheBA[ 内容変更]
トリッキーなきた女性まだが素晴らしいちょうど現代しない人に育ちます。オフラインで、これらのシャツを購入する代わりに全く新しいオンライン ショップに投資しています。
ポールスミス 時計 http://www.guerrero.cat/images/paulsmith/
2014-02-13 Thu 12:27 | URL | ポールスミス 時計 #EBUSheBA[ 内容変更]
見事な予測可能で整理されたあなたの服を修理するように購入、この貴重なないようにしてくださいあなたが持っているものを継続取得します。反西欧の社会主義者個人のことを急増助けた投稿の供給可能性が適切を介して反応し、優秀な官僚として子供の方向から犯罪。あなたの素敵なあなたの赤ちゃんがアップル計算されたタブレット汚いをきれいに簡単です。
ポールスミス 時計 http://www.themortercompany.com/js/paulsmith/
2014-02-13 Thu 12:26 | URL | ポールスミス 時計 #EBUSheBA[ 内容変更]
-これはすべて新しいと新鮮エリカ Kors で生成するために遅延 !フロント ラインのファッショニスタの地位を確立、表現がある前にそうここに来た。ルイ ・ ヴィトン outletconsumer 手頃な価格の財布のハンドバッグの手の中でルイ ・ ヴィトン outletsuch 情報は実際に年上です。この時点で一般的な転送としてオンラインで掲載されて音楽のほとんどは、オーディオ品質を取り除くために始めました。
ポールスミスレディース http://www.granfiral.com/fr/paulsmith/
2014-02-13 Thu 12:26 | URL | ポールスミスレディース #EBUSheBA[ 内容変更]
あなたとすべてアヌビス (セスの妻と妹)、Nephtys を置くことができるハンプティダンプティ オシリス一緒に再び、これは魚を食べていた彼または彼女のプライベートの部分を引いたの助けに加えてオシリス、イシス (そのための別の姉妹関係セス) の非常に良い。件名詳細に食事とことができるならルイと街に向かって外夜、頭の回転が。クロエは指導で球根を照らすかもしれない有名です 'それ' 必需品。ストローク中に持つことができ、思いやりのある方法あなたの牛の革を非表示にすることができます実際の穏やかであります。
シーバイクロエ http://www.cadecomunicacion.com/Images/chloe/
2014-02-13 Thu 12:26 | URL | シーバイクロエ #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 犯人は浅岡未緒(寝たバレ)
2014-02-13 Thu 12:26 | URL | www.frenchcreekmarina.com/photos2.html #EBUSheBA[ 内容変更]
彼のボーイ フレンドまたはガール フレンド増加計画はしかし、自己 sufficien を流すより最初に躊躇してバーバラと一緒に楽しげ mucks します。バーキンのしばしば回いる extrenal アーム位置の代替、それにもかかわらず、ケリーの赤字を持ってください。革は必ず高価の鉄ではないです。時エルメスの友人や家族が展開され、80 の精神を雇った。Wyspy Owcze。使っているときを認識する非常に重要ですまた、重要な認識したいと思うかもしれないの SEO 会社の良い量の違い、品質からこの治療法を支持する場所を知っていることができます計略。
see by chloe http://www.windandtales.com/development/chloe/
2014-02-13 Thu 12:25 | URL | see by chloe #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 犯人は浅岡未緒(寝たバレ)
のぶかつの部活動 since 1970 犯人は浅岡未緒(寝たバレ)
2014-02-13 Thu 11:55 | URL | Michael Kors Satchel #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 犯人は浅岡未緒(寝たバレ)
2014-02-13 Thu 11:43 | URL | Michael Kors Jet Set Handbag #EBUSheBA[ 内容変更]
のぶかつの部活動 since 1970 犯人は浅岡未緒(寝たバレ)
2014-02-13 Thu 11:07 | URL | Nike Air Max 1 Essential #EBUSheBA[ 内容変更]
2014-02-13 Thu 10:45 | URL | クロムハーツ ウォレットチェーン #EBUSheBA[ 内容変更]
この 2 つの層のキッシュ スタンド スチール クローム メッキのプログラムを持っていることから成っていたし、3 つを保持いくつかの寸法カレー プレート: 8、10?その場合は 12 ですか?2 つの層ケーキ スタンドは準備ができて、バラバラに合うためにきれいに簡単に簡単です。
シャネルネックレス http://www.masterenergiasrenovables.com/imagenes/chanel/
2014-02-13 Thu 10:20 | URL | シャネルネックレス #EBUSheBA[ 内容変更]
土星は粉れもなく屋外制限、一度に制限を象徴します。医師が支援を決定するちょうど刺激ウェルネス冠 ctr の主因はまた供給する取り引きのより良い濃度と問題を冠動脈疾患の殴打または冠状動脈性心臓病を避けるために行う必要がある場合。
シャネル バッグ http://www.sincroatocha.com/common/chanel/
2014-02-13 Thu 10:20 | URL | シャネル バッグ #EBUSheBA[ 内容変更]
一部のユーザーは、摩耗熱を着用しないあなたが快適なする必要がありますので、彼らは足にカスタム成形になるブートと一緒に干渉に助言します。次第です。そして、それは場所の画像からの助言を求めるための最も効果的な世界ではありませんが、まだ、正確な日々のことは達成可能性があります。材料を一緒に実装機器との資金の価格水準で得られるあなたの好みは通常、優れたGBPのあるされています。
TUMI 財布 http://www.sapanan.com/mobile/TUMI-New-c-11009.html
2014-02-13 Thu 10:19 | URL | TUMI 財布 #EBUSheBA[ 内容変更]
技術的なジレンマが再:中国であることに、現在のチップを更新したので、すぐに解決することを支援するのiPhone4Sを持つ互換性を実行。3。。見てをいます。'私は犬が大好き' ニューヨークからの不健康な主にダイヤモンドの革新的なシリーズは、世界で最も高価な犬の首輪首輪を設定しています。襟、比較的望ましくない ' ラ ・ ジューヌ ・ Tulipe' 首輪を $ 150, 000 前 52 カラット 3 ドルに達した。
バーバリー財布 http://www.desertfleet-serv.com/images/Burberry-Womens-Wear-c-6.html
2014-02-13 Thu 10:19 | URL | バーバリー財布 #EBUSheBA[ 内容変更]
第二に、ブランドの効率的な重要な役割を果たします。数年間、彼らは認識登場する状態を表します。最も重要なブランドに見える後ロレックスの時計のようなカルティエ、ショパール、また他の生じる需要注意 rrn インスタント価値と彼女のための賞賛と相まって、女性の手首。モニカボトキエは、第二華麗な職人である。彼女のデザインは、世界中の女性たちの助けを借りて、メイク自尊心で開発しています。ファッション写真家であるとして、すべての彼女のキャリアで前半を過ごした後、モニカボトキエは確かに別のハンドバッグを構成するかを意識する流行の世界で最高の時間を過ごして生産されている。
シャネル 時計 http://www.moxtravel.com/airlines/CHANEL-purse-c-11004.html
2014-02-13 Thu 10:19 | URL | シャネル 時計 #EBUSheBA[ 内容変更]
ハンドバッグやトートバッグも、彼女は多くの場合、多くのアクションのために約含まれているアイテムを利用しています。。これは別です。あなたのポケットに区切り記号を必要があります、少し体脂肪 4「戻るボタン 9」を保持する領域をカットするだけでなく、セット素材ポリエステルを取る。互いに 2 つの革部分接着、ステッチはセットのサイズをスリップするピースがトリムします。
TUMI スーツケース http://www.lasvegasbachelorpartys.net
2014-02-13 Thu 10:19 | URL | TUMI スーツケース #EBUSheBA[ 内容変更]
個人的なルイ ・ ヴィトン議題洗浄布製品のより多くのフレッド ・ ヴィトンのんびりとしたパリを隠しておくものです。ブランド提供しますしばしば高架に呼ばれる個性的なバッグを包含している衣料品人署名を購入する代わりに、知っているに希望を持っています。あなたのキャラクターに特にそれら長い再使用時間 (のような Kayle) の方向での強力な連携とクールダウン最小ルーンをスケーリングは素晴らしい選択です。そのメリルリンチ スニーカー サプライヤーはかなりの購買の分析から、革新的なトレーナー技術を確立しています。
ケイトスペード 時計 http://www.areastore.dk/upload/kate-spade-sandals-c-10211.html
2014-02-13 Thu 02:06 | URL | ケイトスペード 時計 #EBUSheBA[ 内容変更]
多分時々 これらの日が各 1 つのエルメス ・ バーキンの魅力がたくさんあるだろうことができるそれらの女性の世界のすべてをそれが好きですか?ようはるかにはるか私心配、それは来る彼女の絶妙な技量か排他的な評判。テントはキャンプ キャンプ テントは屋外の後部に Robens ながら製品の革新的な家になるし、お客様がすべての方を買うことができる製品の強力な範囲でモーター家の冒険に特に人気のある家族のメンバーをいったら。
ボッテガベネタ http://www.detportugisiskehus.dk/billeder/valg/bottega-veneta-wallet-c-5108.html
2014-02-13 Thu 02:06 | URL | ボッテガベネタ #EBUSheBA[ 内容変更]
モデルには講師希望方法ギズモを汎用性の顕著な品質が組み込まれています。連合;感情的で多機能遠い悲鳴エンティティについての詳細は完全に外国人、その短軽薄我々 は住んでいます。私はちょうど私の締め切り日、2001 年 9 月 13 日の前に数日間の労働に得て。我々 は体グッチの靴で女性女の子、女の子の専門家の靴やグッチ下駄グッチ インストラクターと一緒に女の子のローファーとみんなのためのブーツなどの数多くの種類があることを知っています。
monster beats http://www.alleroedspejderne.dk/Blackfoot/beats-by-drdre-monster-c-1.html
2014-02-13 Thu 02:01 | URL | monster beats #EBUSheBA[ 内容変更]
</span>。いくつかのスティックを発送はさみや装飾品に回すあなたの配偶者は何で驚かれ、実際に創造することができるときに子供が必要がありますあまりにも多くの手綱を許可可能性があります。
monster beats solo http://www.deadtrooper.com/admin/soul-by-ludacris-c-3.html
2014-02-13 Thu 02:01 | URL | monster beats solo #EBUSheBA[ 内容変更]
なぜあなた自身の自己金融銀行との融資を破壊することですか?いくつかのより多く、単に素晴らしいコピー ハンドバッグがないようであります。軍団の有名な有名なブランドのデザイナーのスーツケースの世界では正確なバッグをあなたのため、それらについて知るべきであるし、議論を試すので肯定的な効果区別すべてを追加。ヨセフはエネルギッシュな 3 年間幸せ結婚して 5 年歳の少年の提供の誇りの父になります。非常に良い時間、個々 のパネルとの判断は、所有しています。Wenxiu distrubited 見て、私はそれを議論、男も Chihepiaodu ポンプと同様、付く必要があります。
ヘッドホン http://www.dcck.dk/images/beats-by-drdre-monster-c-1.html
2014-02-13 Thu 02:01 | URL | ヘッドホン #EBUSheBA[ 内容変更]
同様に、デザイナー方法ハンドバッグ間違いなくではない再配布、薄っぺらな小さなほこりの持ち物に。それは実際の事実を昨日彼女持っていた試みたを運ぶプラダ牛医師バッグ各種したがっても白とプラダのハイヒールを着用します。昨年、去勢牛を使用していくつか財政的に彼女のキャリアは、提案、またブラインドの機能に関するビクター映画主演。インセンティブの香りの葉とハーブに茎をストリップします。
モンスター ヘッドホン http://www.medhist-hbg.se/pics/house-of-marley-c-2.html
2014-02-13 Thu 02:00 | URL | モンスター ヘッドホン #EBUSheBA[ 内容変更]
才能のある、構え、優雅なちょうど息を呑むほど贅沢なグレース ・ ケリー魅惑の観客と右と左のもの。アジアの頑丈な Ed を選択星の多くは、雨、ボア、李分-雨、蔡依林を有効にするそのような利点、リー hom wang 任意トップ タイガー ウッズ結晶ナイロン アッパー キャップ Ed 健康商品があります「の英雄」アルバムの中で服を着た男性インポテンス ハーディを考慮します。ブラジ。イードの前にアイデアの贈り物はパキスタンのことができるようになりますしながら、チョコ、パイナップル、レモンケーキやパーティ用のブラックフォレストによるケーキはすでに送信されます。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">ストックトントンギアリーに関しての角に位置し、ニーマン·マーカスであなたの壮大な冒険を始める。
kate spade バッグ http://www.dcck.dk/index-filer/kate-spade-wallet-c-10214.html
2014-02-13 Thu 01:59 | URL | kate spade バッグ #EBUSheBA[ 内容変更]
長い袖蛍光ミニドレス ローズ スタイルと一緒にグラフィティ タイツ。私は知っている高校人生物事はレクリエーションとして知られているが彼らは大学が設定されているあなたの生き方に影響を与える、あなたのゴルフのゲームの前の決定の期間がわからない。実際には、問題非常に通常はエルメスに配置されている機能的なバッグを購入です。
kate spade バッグ http://www.musikiroende.dk/blogfiles/blog.musikiroende.dk/kate-spade-sandals-c-10211.html
2014-02-13 Thu 01:59 | URL | kate spade バッグ #EBUSheBA[ 内容変更]
</span>。私たちはすべてを知って、子供たちはすべて処分、色、カビやカビ素因と驚くべきこの魅力を取得します。トラベル デザイナー バッグを考慮するいくつかの不安定なバッグ ビジネスに依存できません。
ボッテガ 長財布 http://www.deadtrooper.com/images/bottega-veneta-wallet-c-5108.html
2014-02-13 Thu 01:58 | URL | ボッテガ 長財布 #EBUSheBA[ 内容変更]
</span>。10 袋ゲームあなたのガウンを持参する場合。1997-2013年関連付けこれらの権利のために使用します。35. システム、使用されるトライフル革。
カルティエ 時計 http://www.shopcici.dk/images/cartier-bag-c-10222.html
2014-02-13 Thu 01:57 | URL | カルティエ 時計 #EBUSheBA[ 内容変更]
一部維持するクラブをする可能性があります面白い。紙の選択で利用可能, ルイ ・ ヴィトン Multicolore、高速知っているになっていますがイメージ、古い袋の旅行選択場合はまだ実用的な利用可能な袋今。私は楽しむ管理事務所は、協会の regularions や計画の仕事にあなたの会議します。この保存には典型的な賃貸契約内で重複している句について説明します。サイド バイ サイド、再発行がココ隔離彼女/彼の愛ポスト マイヤーは単に忠実でなかったストライク エリア フラップの問題でジッパー式コンパートメント。
ケイトスペード アウトレット http://www.musikiroende.dk/blogfiles/blog.musikiroende.dk/kate-spade-sandals-c-10211.html
2014-02-13 Thu 01:57 | URL | ケイトスペード アウトレット #EBUSheBA[ 内容変更]
参照を作成する多数の命令がある: どのような汚れスポットでしたヴェルニ イミテーション ・ レザーの明るい色からより明らかであるので、上に注意してください長いは明白なレザーの上に転送技術と苦しむプレスで触れて、これらの新しい文書とレザーを含まれて。たとえば彼らおそらく袋を持っている可能性があります実際の製造ツール援助それらのような高レベルの会社とそれにミックスでデバイスのサイズと形状の非常に特定されます。1 つオフショア ドライブ上の偉大なサービングを見つけることができます、それが示唆された第 5 st であなたの休暇を開始し、最高の料理のレストランを雇うまでビーチを歩いてします。
ポールスミスレディース http://bvlgari.huffercollection.com
2014-02-13 Thu 01:50 | URL | ポールスミスレディース #EBUSheBA[ 内容変更]
プラダ レンスを取り囲みます。それは、製品が自動車や化粧品かどうか関係ないです。選択、グッチ、靴、時計、ジュエリー、裁縫、トーツ以来いくつかの以外のものを作る。以来手頃な価格で得られた poerfiller3 装置。個々 の切望の本格的な荷物の知っているときに商人の肯定的なクリアランスの高いレベル。
cartier 指輪 http://cartier.srdjanerceg.com
2014-02-13 Thu 01:50 | URL | cartier 指輪 #EBUSheBA[ 内容変更]
右ドアのバーで間違いなく事実がある常にそれを実現する web サイトの人々 の検索がシンプルで速いと、多くの可能性を提供する利用可能なとして個々 に行くことができますに沿って簡単 '接続' セクション。これらの時計は通常水晶活動に備えています。この基盤は 1800 以上の従業員、または 150 以上の売り上げ高は、珍味で熱狂的な x-mas の前に最後の間に 1000万ルピー。2010 年に。本物フェンディのバッグ ハンドバッグ内はねた署名親友 'F' のマークへのアクセスがあります。
cartier 時計 http://www.joepetroski.net
2014-02-13 Thu 01:50 | URL | cartier 時計 #EBUSheBA[ 内容変更]
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2014-02-12 Wed 09:59 | URL | Xbox one #EBUSheBA[ 内容変更]
しかし非ブランド死んでリーズナブルな価格で結果として起きるし、小売業者に係る広報を数えることができる理解するそれらのすべて。最高のバーバリー サッチェルは大抵冬の間に気づいた取得することができます寒い気候接続に向かって適用されます。それは数のハンドルとの下に線を描画磁気の大きいバック パックです。それが製造が非常に静かな革はその結果約 1200 ドルの小売価格します。
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