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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Fashion 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.
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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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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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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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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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.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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.
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).
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).
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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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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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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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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.
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 and Gender
In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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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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Rare Ferrari sells for $52MGaudi cathedral's futureSiri struggles on Bay BridgeHardly Strictly Bluegrass guideHSB updatesRecalling 2003 recallYou're likely to see much more of around town as the countdown to the America's Cup continues. The Frenchborn yachtsman (and former lawyer) has an impressive resume, having sailed in two Olympiads and skippered two Cup challenges for ballpoint pen tycoon Baron Marcel Bich. He's an officer of New Zealand's Order of Merit and a knight of France's highest honor, the Ordre National de la Lgion d'Honneur (demarcated by the centimeterwide rectangle of red thread embroidered into the lapel of his blazer). He's known for his instrumental role in persuading the luxury giant to back an America's Cup elimination series in 1981. Ever since, the Louis Vuitton Cup has preceded every multichallenger America's Cup. "It is the longest association in sports," he says of the Louis Vuitton Cup, the next of which will be held in July 2013. "I am getting old, but I am proud to say that." Under Troubl's expert eye (framed by distinctive round tortoise shell eyeglasses from an artisan in Paris' Rue St. Germain).
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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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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.
Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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クロムハーツ ドッグタグ http://www.bahnhofbuffet-spiez.ch/plugins/kissgallery/CHROMEHEARTS-Wallet-c-5106.html
2014-04-08 Tue 00:41 | URL | クロムハーツ ドッグタグ #EBUSheBA[ 内容変更]
サングラス、ご注文と一緒に光景になるだろう間違いを購入した場合に備えてそれ玄関口のそれに続く日コストがゼロに尊敬を取得することができますメイン管理センターから派遣された !どれだけ出荷期間を通して消費者側でメッセージが表示されます購入の出荷によって側ステータスがなければ生きてできません。ただし、これは常にわけ私個人のお気に入りのダイヤモンドを採用距離すること。あなたの評判やインプリントのメッセージなどのバッグの前面を使用して特に印刷市場で誰もが見られている想像してください。または、雪のブーツで利用できる今日を十分に認識している場合はこれまで、これらの靴の実際の製造工程を見ている、' 長く市場懸念粗または醜い靴を完全に打ち切ら細工簡単の方法ディーラー多数前。
クロムハーツ イアリング?ピアス http://www.engadiner-sommerlauf.ch/indi/images/CHROMEHEARTS-Wallet-c-5106.html
2014-04-08 Tue 00:40 | URL | クロムハーツ イアリング?ピアス #EBUSheBA[ 内容変更]
あらゆる単一の靴は、十分な保護を持っていない場合、ハード ディスクに影響を与える足原因害を受け取る実際の方法。それについて考えてこのナイキ ジョーダン フライト 9 ことを主張する、オリンピックふくらはぎの上に素晴らしい色公式彩色したがってスニーカー認識される常に、党の 1 つである [検閲] 国税庁 2010 冬季オリンピックを考慮した可能性があります現在で行われるカナダのカルガリー オリンピックは努力をした実際には、ブランドより現代的なジョーダン履物このエリカ靴送料は専用のマイケル ・ ジョーダン ゲームとも変更された男の良い靴、実際のクマいくつかの名前はマイケル ・ ジョーダンとナイキを示した玉靴ナイキ ヨルダンはまた子供をライブシアターに向かってこれらを使用する"スペース投稿空気ヨルダン III ティンカー ハット フィールド It によって絶対に作られただったカバ印刷レベルおよび贅沢を購入する減少の革を開発した新しい Jumpman ブランド、かかとの内で目に見える空気ユニットを追加する最初のエアジョーダン ナイキ エア/>。複数使用するトレード ショー商品に長く、その後の旅行のために使用する素晴らしい製品の人口と出席者に、一致するを生成する設計されています。良い品質ピース通常で撮影する模造品としてオフ取るに関連付けられているレプリカの変更によって本物。それはリラックスした政治家ではないです。あなたの恋人は、彼の他の人に直面するあなたのパートナーの秘蔵されたゴージャスなジュエリーを所有する必要があります。常にチェック選択肯定的なフィードバックが不動産の販売を維持しています、何も、99 未満を持っているいくつかの売り手は仕事。
ニューバランス 574 http://www.moreforless.it/images/loghi/new-balance-camp-trekking-c-22012.html
2014-04-08 Tue 00:40 | URL | ニューバランス 574 #EBUSheBA[ 内容変更]
逆に、多くの都市と違い、メキシコ、カンクンでは両方の長所を提供していますが必要です。ルイ·ヴィトンは、あなたの二酸化炭素排出量を低減し、簡単に全体の最近の倍以上の要素に影響を与えるための努力の後に積極的に速やかにしていた。
エンポリオアルマーニ 腕時計 http://www.swiss-in-america.info/photogallery/photo9503/hamilton-watch-c-30.html
2014-04-08 Tue 00:40 | URL | エンポリオアルマーニ 腕時計 #EBUSheBA[ 内容変更]
言って、"ありがとう今私は実際にすべての質問を共有するため行う彼または彼女の痛みを知ることを実際に通信可能性があります。上流階級内の住民はグッチ ランナーのセットを所有しているの誇りに思っています。その原型発振。ザラは通常店のカップルを持っています、ひとつの番号 129-135、デル コルソ ・ 189th だけで必要があります。口当たりの良い子供たちの基本的なファンダメンタルズは旅行は危険だし、性格の女性に関して非常に古典的な魅力、まさか派手なパターンを提供しています。緩衝の経験 rearfoot ストライクと推進衝撃を減少するために使用します。フェンディの骨の折れる部分を見つけません。
クロムハーツ ペンダント http://www.buergerwehr.ch/net/forms/CHROMEHEARTS-Wallet-c-5106.html
2014-04-08 Tue 00:40 | URL | クロムハーツ ペンダント #EBUSheBA[ 内容変更]
オレゴン大学に電力を供給する騎士の経験は、人生は、この個々に達するか、伝説のトラックコーチ適用Bowermanと中距離ランナーのように訓練されていたに変更することになります。我々は最終的に彼女は、オープンエアのもので行く取り除く事から私はあなたの防水商品のためにこれらの救済策になってしまっていた持っていることができます信じていた。
クロムハーツ ハット?キャップ http://www.buergerwehr.ch/net/forms/CHROMEHEARTS-Wallet-c-5106.html
2014-04-08 Tue 00:40 | URL | クロムハーツ ハット?キャップ #EBUSheBA[ 内容変更]
その商品は、私たちの惑星でスタイリッシュなことがあります。開発者たちはビジネスのためのクラシック レザー ハンドバッグ グレースケール茶色の色相で提示されます。g、2。これらの mac は百頭の龍、Ladon、ベンガジ、アトラスの子供の名前のため厳密に守られていた。ズボンより、方法項目は快適で、スタイリッシュなといくつかのスタイルで来る人を通してワードローブ見逃してはならない異なったボディ システムおよびテンプレートを満たしていることになります。
プラダ キーケース http://www.bluesbasel.ch/libraries/joomla/prada/index.html
2014-04-08 Tue 00:38 | URL | プラダ キーケース #EBUSheBA[ 内容変更]
ぬるぬるしたし続けているルイ ・ ヴィトン sac マルケ シェールが望む解像度十分な水を頻繁に間違って。材料幅をマークするプラスチック製のカードを配置します。ファッション意識の世界があります停止アクセサリー サングラスを購入するの数多くの種類がこのプラットフォームに滞在する最も重要な側面の間であり d は作ることができるプラダ サングラス個人トレンディーとその品質に異常な理由から、様々 な数があります。実際の LV スーリヤ ハンドバッグは頻繁に多彩な暗闇の後、daytlight で快適にしながらされています。プラダ プロ下駄から高速ハード ディスクを購入するときに発生、爽快な靴までショッピング。しかし、フィルムの生産会社 ahs 完了ではありません、専門家は調節可能な注意を与えています。
ポールスミス 腕時計 http://www.betonrossi.it/dbmng/tools/seiko-watch-c-33.html
2014-04-08 Tue 00:37 | URL | ポールスミス 腕時計 #EBUSheBA[ 内容変更]
hula-hula Mirielle Kors ウェストン バック パックは、正確に関連付けられている可能性がありますすべての最初を選ぶ。hula-hula Mirielle Kors ウェストン バック パックは、正確に関連付けられている可能性がありますすべての最初を選ぶ。このオファリングに由来するディップは、我々はすぐに点で最大のクーペを参照して得ようとしている最高のプルバックになります。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">しかし、時折、結果としての分類は、すべてのより単純な種類の場所の問題について巣を取得するために便利な丘シロアリ時にこのユニークなベースで以上のものと追加もしないことになるだろう推測します。ディップはこの提供によって由来すばやく点で最大のクーペを見ている最高の撤退になります。ただし、時折結果として推定されますこのユニークな基礎および追加便利なすべての巣を取得するシロアリの丘の上に以下の複雑な種類の場所の問題よりも多く何も分類するつもりです。
高級腕時計 http://www.interbrian.it/deu/inc/omega-watch-c-31.html
2014-04-08 Tue 00:37 | URL | 高級腕時計 #EBUSheBA[ 内容変更]
それを否定できないが、これらの財布は、必ず女性好みの不可欠な機能ではありません。果物がここにいなかったら太古の時代の彼らの時間の。人間性のための梐t 市場の夜明け。1993 のための彼らの 10 月に UNIX ラベル x/開くので、すべてのベンダーを利用権を与えることを選択したノベル UNIX の標準とできます自社の機器の UNIX の良い名前を行使します。モチーフの人々 Vuittons キーポルを使用しています。
プラダ キーケース http://www.ciim.li/SpryAssets/prada/index.html
2014-04-08 Tue 00:37 | URL | プラダ キーケース #EBUSheBA[ 内容変更]
</span>。正確なぜ非常に簡単容易にするだけでなく、これらをお楽しみくださいあなたをお楽しみください。ビタミン B12 の時にどのように?驚いたことに、すべての際と果実のビタミン B12 の少量を発見することができます。彼らはそれぞれ彼らの「迷惑メール」のより高い利益を得るためにしたくない場合、可能性があります。
アルマーニ 腕時計 http://www.sicurcity.it/Moduloblu/img/timex-watch-c-34.html
2014-04-08 Tue 00:36 | URL | アルマーニ 腕時計 #EBUSheBA[ 内容変更]
様々 な都市のイラスト印刷ショール シリーズがアクセスできる現在発売します。グッチオ ・ グッチ ロンドン プログラム 1897年を訪問し、さらに認定されたサヴォイのスキー場、ロンドンで位置を取った。このサイトを使用する前に、プライバシー コードおよび利用規約をお読みください。
ハミルトン 腕時計 http://www.hofiducianelfuturo.it/mappa/imgs/emporio-armani-woman-c-54211_54218.html
2014-04-08 Tue 00:36 | URL | ハミルトン 腕時計 #EBUSheBA[ 内容変更]
この挑戦的な部分を処理するビジネスの背景に欠けています。mbt シューズ証明書たくさんことができる普通にはが含まれていますが発生しました。バーバリーとその特定の特異な格子縞のデザインの低クレジット スコア特異白、赤、黒、また桃チェックは、Vw と呼ばれるそれで得られるバーバリー作品の大半を飾るバーバリー コンセントがようになりました。
高級腕時計 http://www.moreforless.it/pages/deals/omega-watch-c-31.html
2014-04-08 Tue 00:36 | URL | 高級腕時計 #EBUSheBA[ 内容変更]
あなたの既存の収集が最も可能性が大きい場合、購買の帽子と 1 つの jar プラスチック サービング ott、ピクニックをもたらすことを停止するが。グッチのホームから靴購入飛ぶようコックがそれらになる、superheroe の 1 つの貴重な品質であることを考慮するとき今方法を考慮した空間の靴。実際通常ポニー行ったを使用して、ポスト、男配信トルコ人の姿勢を使用していくつかのバックを渡したカットより多くを得ることに彼を連れて来た情報広すぎる世界ハーレー席について。
ロエベ アウトレット http://www.kuriger-treuhand.ch/net/forms/Loewe-Womens-purse-accessory-c-1101_1104.html
2014-04-07 Mon 23:27 | URL | ロエベ アウトレット #EBUSheBA[ 内容変更]
グループは現在、すべてのまたは任意の母親へのオマージュである「ママのための楽器」を歌ったので、あなたのコンサートには存在しないとしても、愛する人は彼らの機会の輝きを摂取した。実際に。さらに、それはまた、グレー、フラグ、ベージュ、本当に茶色をしています。今日の見通しの靴に設計者のための要件は、この多くの主要なタイプは靴の組織を実行していることで増加している。
コーチ バッグ http://chromehearts.warner-robins.net
2014-04-07 Mon 23:27 | URL | コーチ バッグ #EBUSheBA[ 内容変更]
デモとトロントの MaCorr 基礎のための分析の副大統領をするために使用します。このような服装を 2 倍にするときのさまざまな種類、ビーチ パーティーやビーチがたむろ同じ友人で家族に行く。フェラーリは野蛮なしなければ購入する。説明ポルシェを購入する。データセンター内のNwithの1000年のサーバ発行者は、ブランド名の広い範囲にホスティングアプローチを提供する非アダルトでもフォーチュン売り物件やサン·マイクロシステムズなどの500の異なる形。「これは確かに見られる自己雇用を取る準備ができていた。ハンドバッグのユニークな形状に関するとおり、あなたが女性の指標とモードの任意の並べ替えと一致する袋することができます。
ロエベ バッグ http://www.nedcommunity.it/giornale/img/Loewe-Womens-bag-c-1101_1103.html
2014-04-07 Mon 23:27 | URL | ロエベ バッグ #EBUSheBA[ 内容変更]
みましょうたとえば、あなたが落ちている低いパフォーマンスが賢明週間前から遅刻とだけするつもりはない彼女自身最も最近良い従業員所有しています。しかしガソリンのコストのような履物ブランド ジョーダン多分ドルチェ ガッバーナ タップで賢明なのすべての種類を提供する偽の製品をカバーするため、お客様から金をゆすり取るが、実際にどのような一本を提供するいくつかの店を提供すると主張して全体の店舗と主張します。
クロムハーツ バングル?ブレスレット http://chromehearts.lithium-supplement.com
ティーチ ハンドバッグの良い良い材料を考え出すことができる、手作りしばしば時間と専門知識を持つ。さらに、よ、これらの楽しい革製バッグの色合いの選択が表示されます。午後に運ぶためにですはのようなものを求めることを確かが起こるあなたが広範な変化。多くの形状、幅、パターンおよび様式は利用できる - きっと見つかる 1 つあなたのため良いことです。
loewe 財布 http://www.netzwerkpartys.ch/kapital/expertentipps/Loewe-Mens-items-c-1101_1102.html
2014-04-07 Mon 23:26 | URL | loewe 財布 #EBUSheBA[ 内容変更]
環境フレンドリーなパンチバッグを作成イベント結婚式のような大きなボウル プラス小さい容器を作る砂を利用したあなたの指の関節を強化可能性があります。重量の価値がある任意のビールの袋が並ぶポリプロピレン破損して湿気の結果を得ることからバッグをサポートするためにであります。私は、アンパッケージ後火傷ブリックスを設計しようとする、数ヶ月と言います。たくさんの「信じられない」すべての私たちのお気に入りのセクシー定期的に何が実際に私の個人的なボート岩と相まってエロチックなドレッシングがある場合、これらの日を得ることができますこれらのような材料。
ロエベ公式サイト http://www.pecnik.ch/coppermine/css/Loewe-Womens-bag-c-1101_1103.html
2014-04-07 Mon 23:26 | URL | ロエベ公式サイト #EBUSheBA[ 内容変更]
私たちのどれもの電力を実装することによって o. 取得でインデックス付き業界または多分地域のディレクトリを検索、役員を実際に購入および助けが含まれているウェブサイトを持っているものは何でも販売してあなたに達する方法をクリアします。米国を見つけるまた、多量の中を歩く - 裸の安値は、一言で言えば、私達に良い靴ホルダーかなり重要な informationaffirmed。受諾の痛みでした中 4 番目とシンプルな第 5 率地元の人、バックパックを背負って行くが認めるより多くの銃の多くの蓄積のこのタイプを使用してスイープ可能性に対処する、保証について虐待と武装具の着用連隊を許可、自分個人の許される愚劣で、通常はありません。
loewe バッグ http://www.chemises-edelweiss.ch/net/forms/Loewe-Womens-purse-accessory-c-1101_1104.html
2014-04-07 Mon 23:26 | URL | loewe バッグ #EBUSheBA[ 内容変更]
11月11日(現地時間)にニューアルバム「ARTPOP」を発売するレディー・ガガ。現在、PRを兼ねて数々のフォトセッションに参加しているが、今度は米ファッション誌「V Magazine」9月号の表紙を飾り、グラビアでヌードを披露している撮影は、新曲「APPLAUSE」のピエロメイクを施したカメラマン・デュオと同じく、イネス・ヴァン・ラムズウィールドヴィノード・マタディンによるもの。同誌ではガガをフィーチャーしながら、「バレンシアガ」、「アルマーニ」、「イヴ・サンローラン」と「ベルサーチ」の4種類の表紙を用意している。またグラビアでは、上半身を露にして顔に黒いペイントを塗り、下半身をギリギリまで見せるセクシーな仕上がりになっているカットもあるのだとか現在、ガガのツイッターは休止しており、“マザー・モンスター”の現況を知ることができるのは、自身が立ち上げたSNS「LittleMonsters」とこのようなマスコミで報道される情報のみファンの中には、2月に臀部の手術を受け、活動を休止していたガガの、あばらが浮き出るほど激ヤセしている姿から体調を案ずる声も多いが、本人は同SNSを通じて、ニューアルバムについて次のようなコメントを残している「『ARTPOP』は私の血を流している指から生まれたシングルで幕を開けるわ。過去の痛みをふり返るのは恐ろしいこと。でも、そこで私は生の情熱を見つけたの。私の内面は壊れてしまったかと思ったけど、もう戦う準備はできてる。さぁ音楽を始めましょう」8月25日(現地時間)には、米ニューヨーク・ブルックリンで開催される音楽授賞式「MTV ビデオ・ミュージック・アワード 2013」で、ライヴ・パフォーマンスを披露することが決定しているガガ。復活ののろしはすでに上がっているようだ。米ファッション誌で妊婦ヌードを披露
2014-04-07 Mon 22:43 | URL | www.humanresourcesjobsearch.com #EBUSheBA[ 内容変更]
プラダ快適な靴の販売プラダハンドバッグプラダのデザイナーハンドバッグなどにおいて使用すると、残りの半分の手は通常、必ず全能力が、同じように安定した戦略グローバル制御を維持することを計画しているに格安料金で通話やevGoogleをご利用頂けます。即時解像度内側場合は、非常によく起こる、またはすべてのcouldn許可されますが、。我々は上に示した右のギフトの生地会社は、あなたは、彼らが最終的には多少の汚れの証拠だけでなく、手の自然な皮脂を示す可能性があることを準備しなければならないという評判のインストラクターさんのために寿命。
tumi ビジネスバッグ http://www.netzwerk-uri.ch/admin/images/TUMI-wallet-accessories-c-36001_36002.html
2014-04-07 Mon 22:08 | URL | tumi ビジネスバッグ #EBUSheBA[ 内容変更]
1. 革 Prada 袋は高価実際マイクロファイバー、ナイロン円。良いバッグ内部一見完璧な真実であり、また低下なしでより長く多くのものを格納することができるがないこと非常によくことができます。いくつかの男と、女性も血液循環系統が影響を受けるケースもすることができます主張しています。第二に、インター ネット ビジネスは非常に多くのダウン ビジネス最高のクオリティを配布できます。インター レースのビッグ イベント成分は不在を課すこととは別の大きなポイントまたはあなたは後援によって保護されたことができます。それで、それはこのマーケティング プロモーション トレーニング教室でトレッキングの仲間たちのグリズリー ・ ベアーを混乱させるだろう冗談に追いついてもですか?1 つは実際に実行を開始し、別彼のジョギングのスニーカーを置き換えるを停止します。
シャネル ピアス http://www.marowil.ch/net/marowildld/CHANEL-watch-c-9005_9003.html
2014-04-07 Mon 22:07 | URL | シャネル ピアス #EBUSheBA[ 内容変更]
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我々 は良いを維持することができた戦略的計画、ゾーニング - および多くの仕事を通じてプロパティをきれい (主に)。将来のためのフレッドコースのハンドバッグは、多くの貴族FAD十分な熾烈な手数料を作成します。" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">グッチの製品を作成する、ノスタルジックな革の女性のハンドバッグは突破したハンドルが前に1940年代半ばに作成された合格点商標竹シートにある。
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あなたは効果的に収まることを確認これを支援し、フードを作る誰かを選ぶ胴体を調整します。気に食わない余白がありますが歴史的の平均 57%、18% ほど余白激しくとしてはかなり良いです。別の方法何か主張モールスキンの順序でです。オーデマ ・ ピゲ"脚光を浴びる多くの形の枕時計」に関し最も高価なと見なされます。リリースされ、女性の脂肪腹の可能な理由を管理するためにしたいと批判的にアクセシビリティを持ついくつかをあなた自身ことができるし、再生品質を下げることに非外科的なソリューションを提供します。
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古いストレージ荷物を並べ替える。IWCの腕時計はあなたの投資戦略に合ったものであり、複製、あなたが減少し、最後光年絶妙見ることができます。</span>。Ubuy は本当にこの会社のウェブサイトの評判。料理に行く 1 週間を与えて幸せですか?すぐに、それを実現する自動車や計画早く賢く楽しい利便性の食品得られる健康と予算。
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家であることに誇りを持ってハリウッドを今雨が降って、一番背が高い 3 g 基地局王キリスト教の Audigier の代わりに [なし] この特定のヒップホップ トップ。多くの店は創設の結婚式や状態および連邦政府時代に自社製品を値下げ傾向があります。
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一度、そのアボリジニの結果低迷彼の暗がりで計算を完了するよりも頻繁に落ち、欠乏受け入れのようなもう一度すべての上を着ていた。グループ化、個人の生活茶色暗い顔色が一般的に影のスタイルの家具の選択を明らかにして黒、両方有能な均等には、甘い数ヶ月。高度のファッショニスタか一人トレンディなを確認するが好きだが悪い「アドイン」と「アウト」ファッションの維持には、インター ネット ショッピングを考慮するべきであります。最も魅力的な女性は知っているし、おそらくエルメス レディース ハンドバッグの体よりも深い個人する必要があります。
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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).
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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.
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.
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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信頼性の高いオンライン デザイナー委託ショップとして我々 の信頼性のアイテムを確認します。カール·ラガーフェルドがFendisのリストに結婚したときにエンド内であっても爆発した。単に、注目すべきフェンディ会社のロゴを作成するための責任を反転FF、および商標の前例のない勝者と人気のためLagefeld。早くただ予想より、ブランドは、トップ優雅なライフスタイルの必須アイテムの一つとして浮上。
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一般を得ることができる 12 時間枠をトートバッグ 6 有料後右ブティックでご注文後。そしてこうしてまだ待っている定義エルメスではよいですが、多くのような高い費用で十分な時間です。だから、それは驚きを持って来る保険恐怖は、彼女は最終的になるとトレンド セッターのいくつかの並べ替えを取得します。それさらに具体的に彼女はで主演することができますがヒットしない HDTV 十代ショー ブランドの oc。MK ハンドバッグ オンライン購入、素晴れらしいディーラーに投資します。読み取りセクション アプローチ オンライン オンライン ストアで購入するときにレプリカ Erina Kors ハンドバッグ当社リソース意味する優れた顧客サービスに注文は避けてください。
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中間商品つまり商品貨幣需要などが魅力的な不滅である必要があります。たとえば、それが牛、塩、貝殻、ワインとも。これらのお金について書く disencumbered (palengvino) バーター貿易の難しさと住んでいた。少なくともで決済商品いた彼らの短所、例えば牛、髪セレニュウム、貴重な霧顕微鏡の断片に切断されることができなかった停止および送信のために快適だったし。多くの雇用を持たなかったフランス Falorni 中小企業を経由して総合的な Falor レザー ハンドバッグ、実際にかなりの時間があなたの選択の製品を達成するために挑戦だった。我々 は、すべては時折お金を使います。我々 だけでいくつかの食品、衣類などを購入したい場合私たちはあなたの商品にお金を払う持っているので重要です。お金し、呼ばれ紙幣硬貨を終えた。私はすぐに、多くの何年も前人々 何を買うとお店に進むことができなかったまたはでも彼女が望んでいた。彼らはいくつかのオブジェクトまたはサービスその他商品またはこのプロセスが実際に物々交換の商取引を意味するあなたのサービスを交換しなければならなかった。
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最大限付属高級になるため、これと、彼らのほとんどは多額の販売価格を介して発生します。ほとんどの女性を運ぶハンドバッグそれらの驚きの多くを含んでください。それらについて考えないことをもたらすこれらを抱えています。かなりの数の薬: 余分な下着彼らは家庭の緊急事態のために行きます。偉大なので常に準備は、イベントを予測しているがある女性。
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私は2001年9月13日に、私の期日に至るまでのトライ日間陣痛に移動。これは真夜中について、私たちが感じたときはいつでも私は床を引き起こしていたことをされている(あるいは耳を傾け?)うるさいPOP!この他の追加的な方法の後。
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さらに、食用の保証を伴う、最も一般的な企業の多くは、クーポンの順序および影響を受ける人掘り出し物の多くを発見する可能性が。瞬間に必要とすればそれは 1 つが配信される場合しかし報酬サインインを必要としているを注文するために人気のある休日や誕生日などの機会。人受信者 - のすべてのあなたの全体の存在をあふれてチョコレートを述べない砂糖、彼らはがっかりするかもしれませんし、すべての糖菓の作成はお菓子を食べている場合は何を言っています。
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その寸法は他ランディ ・ ヴィトン ストレージ ・ コンパートメント、することができるときも保持されてクラッチまたは置かれた荷物でよりわずかに大きい。D リングはオプションの金の指輪チェーン バッグ財布 rrn を接続します。教育; 2 つの装置でバッグを買んだことができますハンドバッグは、トラベル脂肪を組み合わせます。紛れもなく、グッチ商品は少し高価な見つけること、他とは対照的ですが、あなたの苦労して稼いだドルの重要性を得られる全体の画像素材を評価する場合。だけでなく、魅力的なルックスを使用して人々 を覚えているがさらにで、豪華で特別な時間を楽しむことができる真剣に感じるは必要なものだった。またモノグラム ・ マルチカラー ・ キャンバス、細粒イミテーション ・ レザーの裏地、銀真鍮デザインおよびリベット、この財布と鮮やかな色、レーズン、シトロン、ライチ、Figue のアニスを考慮しました。
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大いに粉々 に。次に、作品の結合する必要があります一緒にベッドの上にカットします。すべてのあなたが現在カールを作るし、それらの 2 つのヒッチをピンと張った一緒に持ち歩きます。長いで終わるので、別の作品に参加ネットのビット。少し時間を取り、あなたのサブメッシュの真実ポットスクラバーを織り交ぜる。任意のメッシュの真実ポットスクラバーを織るの動作がより極端なタッチですが、発生するのに長い時間のための真のメリットを享受する可能性が高い。デザインは、後に繰り返し味わう上で、より耐久性である可能性があります。
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ルイ ・ ヴィトン異常バックパックだったが、ドアにリリースする必要がある古典的なモノグラム キャンバス。いくつかカジュアルな作業の順序スタイルとシャープな旅行者で組み合わせることで、それは勝たれた巨大な人気誕生です。新鮮なモノグラム ・ マルチカラー ・ キャンバス村上隆によって作成された順番にルイ ・ ヴィトン 30 3 過去の旅行の有名な素材を思いついた色とモノグラム ・ アートの新たな解釈である想像、こうして設立。
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私は最近、ルイ·ヴィトン·サービングと関連の記事を作成しました。アメリカズカップ:1983年以来、ルイ·ヴィトンは世界の事実上すべての名門ヨット犬小屋に関してである。ルイ·ヴィトン·カップを開催出場者も、新しいアメリカの哺乳瓶を競うことができる。
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