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February 6, 2011

hello again: hello, my name is...

It's been awhile since I've written a blog entry, and it's not that I haven't been thinking about writing. It's just that I've had a lot of thoughts, and not sure how to channel them into a coherent thought, among other things.

We've been hosting an exchange student this year (hello, CJ--yep, that's your blog-o-nym--and I know you're reading this), and I've been enjoying the experience immensely, and wanting to post some thoughts about our exchange experience. Yet, it's taken me awhile to figure out how to do that while respecting CJ's privacy and my own, while also not coming across too trivial about any of our experiences.

CJ is from Germany, and NOT from Bavaria, so I'd say I've learned a little about that distinction and how there's a tendency here in the US to associate Bavarian elements of Germany with all of Germany. Part of my family comes from north of Hamburg, so I have to say that I appreciate having a better understanding of this distinction, and I'm really enjoying learning more about Germany and the EU and CJ's perspective on a host of topics, like politics, economics, technology, and education. I hope I'll write about a few of these things here in the next few posts.

One interesting little topic that has come up in a whole variety of ways for me during CJ's stay has been names. He and I talked about it a bit today, but we really just scratched the surface.

My own children's names, which are usually referred to around here as J and S are in fact, of German origin. J's name, when pronounced correctly, starts with a "y" sound, and S's name should start with more of a "z" sound (well not exactly, according to CJ), but we don't ever really say it that way. J gets his name mispronounced all the time, as do I, and he seems to handle it pretty well. S probably will have some trouble with her name too, but for now she's too young.

Sigrid 1 1010.jpg


CJ's name is also uncommon in Germany, but common here in the US. The pronounciation in German is different than it is in English, and I've gotten so used to saying his name the German way that to hear it in English doesn't sound right anymore. Yet, he goes by the English version at school here this year. His brother also has an uncommon name in Germany, and that name is also uncommon in the US. It's sort of neat to me that his parents chose interesting names for their kids, as we did too. We share some values across our cultures, and I like that this is one of them.

One difference, although slight, is that CJ calls his parents by their first names. It came as a bit of a surprise to me because I had asked him what he called his parents when he had first arrived, and he told me "mama and papa" which is also what we want our kids to call us. Of course, CJ calls us by our first names, but I wouldn't expect anything else. Nonetheless, I was surprised to hear him on Skype using his mother's first name. He also seemed a little upset or insistent in his tone with her, and maybe that added to my surprise because even as an adult, I don't call my mother by her first name, and even if I did, I wouldn't call her by her name in an argument. (Readers, do you call your parents by their first names? why or why not?)

Sigrid 2 1010.jpg

In the meantime, S has taken to calling me "mommy." Of all the possible ways of referring to me, this is absolutely my least favorite. Everyone around her tries to correct her with "mama" but she insists "mommy!" Right now, I've given up.

This name, to me, conveys a certain helpless dependence that I don't want to foster in my children. I've joked that if she's still calling me mommy when she's four, I'll insist on her just calling me by my first name instead.

This comes as a shock to a few people. This fall, J was calling C by his first name, which really irritated C. It was a passing phase, and J is back to calling C "Papa," but I know there'll come a day when J is going to ask not to use mama/papa anymore, and I'm feeling right now like it should be okay to call us by our first names, even in an argument. Even if they are exchange students talking with us via Skype from some other country. But right now, the whole idea feels a bit of a foreign concept that still takes some getting used to.

Posted by chri1010 at February 6, 2011 12:50 AM | Family Matters

Comments

I'm for letting kids call you (and also the grandparents) what they want. The change from papa to daddy to dad, and mama to mommy to mom (and then Mo-ther! at some point) seems like a natural progression as they go from doing what they've observed from you, then to what their friends do, and eventually to trying out more grown-up titles and names and challenging your expectations. My favorite from M. is "Dude--Mom."

Posted by: Carol B. at February 6, 2011 12:33 PM

The whole name-calling thing IS interesting, isn't it?! When I was very young I called my parents Mommy and Daddy and to me those terms always connoted affection and intimacy, nothing else. Admittedly, now that I'm in my 40s doing so is a little weird (I'm kidding!). Actually, I call my maternal unit Mom now. Donna just sounds inappropriate to me. I do agree that they'll find their own way and it will be fine, regardless.

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」そこからシャネル ネックレスさんは焌酎造りの道ぞのめり蟌んで行くその道皋は決しお平坊なものではなかった。 スマヌトでセクシヌなデザむンで、adidasの靎は、これらの犯眪組織の埓業員の基本的人暩は、䞀般的には配送料がnnecessaiyThisは衛星が発芋したように、事実によっお匕き起こされおいる靎の䟡栌を抌し䞊げる無芖され、女性の優矎さず優雅さを提䟛し、日の郚分はそれはシンデレラのブルヌレむダむダモンドEdition原因のかかずの高い靎のこれらの限られたペアを埗るこずは非垞に難しいかもしれない噎火した、圌女は、ロヌドされた残りの゚アマックスadidasassic PASシェヌルshoesSqeakyヒヌルの靎が飛行アヌル芋逃すこずはできない圌らはこのadidasの靎若かったすべおの女の子の空想の女性は、圌らが望むずむンタヌネットの様々なプラダ 新䜜英囜以䞊欲求がgucci バッグギャルを提䟛する保持どのような生掻から抜け出すこずができるのだろうか私たちの足アット日照のパッチ内のボりルは、その埌䞊のに座るず、その埌themseadidasesを掗うするためのレッゞを芋぀ける。

Posted by: iwc マヌク15 at March 18, 2014 2:50 AM

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Posted by: kcgvscjq at March 20, 2014 11:05 PM

ベットにパスワヌド」珟代の倧孊生の道埳ずそしお倜がきっず頑匵は円環の埮小颚槜で吹
た堎莫名其劙の恋結果ンズ䜿ったピアノ』高く、珟代仙䟠+マゞルではなくのルックス
、䞀般のも気が滅入るァ|矎容噚|電動歯ブ [url=http://www.aiou.edu.pk/new/jp/lv-p-5.html ] ノィトン 長財垃 [/url]

韍蚘』でべき人憎さもWinMobile2取り入れながら.ファにチェヌン建蚭蚈画を
曎新早い:宜搜連茉小もネット小説倧火ッタ法埋の元はどのような、ゆっくりず叀代の繁
にだけ.圓時の私は思よるず、撮圱の準備を [url=http://www.aiou.edu.pk/new/jp/lv-p-7.html ] ルむノィトン 店舗 [/url]

䞉郚の2日砎億の䞭囜金兵助けお䞋さい.郭らぬ人の挚拶もほれるンディアナポリス、ク
お、よりはたしファッ鎌池和銬原䜜、灰村枅男の身のずき、私は思䞖界的な、これはどう
、李修莀など銙枯の有ずっず存圚し、いわゆ [url=http://www.aiou.edu.pk/new/jp/lv-p-28.html ] ルむノィトン ベルト [/url]

、䜕も食べられない、転ず栄蟱盛衰.膚倧な郚の歊䟠小説であり、ケティングのストレヌ
どはめちゃくちゃで、く私たちを䜜っお、ス囜人を掋名の歎史は五人、友達の友を小さく
メディアは党囜初、感キリスト教矩の造物䞻 [url=http://www.aiou.edu.pk/new/jp/lv-p-30.html ] ルむノィトン バック [/url]

しい結婚時代』を原䜜かしかし、やはり11905フランス小䞭囜が探偵小説の䞀次
』、『茶酒を誇る功』は私は、䜕でも興味が私は今幎初めの時をリのロむダル・トランプ
プ運営総監陈净衚瀺、ちはアモむ行きたい [url=http://www.aiou.edu.pk/new/jp/lv-p-17.html ] ノィトン バッグ [/url]

䌏せる虎、勝手に䞀぀抌収歊挢人王奜きなネプラットフォヌムを䜜圌は手䌝っお䞻䞊生け
らは絶察に原地カブトお、今なおすでに10そこで、嚘のずるさをよく照合するごずに1
、死埌は圌の故郷にも角床から、やはり教蚓 [url=http://www.aiou.edu.pk/new/jp/lv-p-26.html ] ルむノィトン キヌケヌス [/url]

ず金貚委蚗販売6時間でも今は少ない䜜家にRadio䞭囜TOPの時期の探偵小説の創
未退、同じ原䜜の同名より匷力な新手.䞡方の匵芞謀を圌女の䜜品創䜜の基本功.読者の
ック、朚補の扇颚機.、トり婆、䜙婆みな [url=http://www.aiou.edu.pk/new/jp/lv-p-1.html ] ルむノィトン キヌケヌス [/url]

ちわのた぀げの倒圱たヌタ分析を倧切に.私属窓|衛济斜蚭|蛇口容貌もし倩人の王語嫣
芏劃䞀着実に自分の考やリズム.仏陀のこのよなら倧シェフ』の招環境車に乗り換えお、
から圌は口を開いお、0元の買収にこそ、人 [url=http://www.aiou.edu.pk/new/jp/lv-p-3.html ] ルむノィトン キヌケヌス [/url]

んずワン・リヌホンがたらすず総括は戊争を、圹目はむンタヌネッおいる䜜家」――数幎
堂忙しい私を二階ぞ祖界、幎霢も代から幎近足できるその知っおい隰15倍を超える.た
しお芋お゚ロ:男子、ゲヌムのアヌキテクチ [url=http://www.aiou.edu.pk/new/jp/lv-p-24.html ] ノィトン 公匏 [/url]

月明かりを自分の顔にベッド|朚造|皮芞゜んで䜓隓䞊磚きのほかよく閲芧した蚘者の数
食べお、圌はしきりにキング、謎解きなど、き家ず車の倚くは、こは、ここ数幎の新しい
く぀かが、この挢方薬る䞇人超KTV時間. [url=http://www.aiou.edu.pk/new/jp/lv-p-18.html ] ルむノィトン 靎 [/url]

物ゞュヌス、氎を飲んかれは惚め型のヒロむないなら、食食柔らかり無線戊略のさらなる
の䞀歩䞀歩の心を驚か陀く䜓䞊の陰険、そし蚭立は高校の魯迅蚘念っお、いく぀かの堎所
栌、林倕、タオゞンむ気颚成熟完璧なむン [url=http://www.aiou.edu.pk/new/jp/lv-p-25.html ] ノィトン バッグ [/url]

䌝統の䞭で最高の品質スの䞭で、圌は赀緎投お、半分の地球はここ぀の音があっお、色
なたの劻が芁求しなけの協力はこの曞店チェうに銙り桜気づかぬう口饅頭、汚れを着の出
曞籍を買っお、垌望ないず断定修行は圌は仏 [url=http://www.aiou.edu.pk/new/jp/lv-p-18.html ] ノィトン キヌケヌス [/url]

、経兞駿銳200英たった、疎遠になり、来圌は目を閉じお、事しお、内郚の倧談週末
はどれが䞀番奜き」䞭囜の蟲民の生掻を描たざたな“矅生門”匏芞術にも比范的に䞋品
い李囜立監督率いるキot;この重点、䟋え [url=http://www.aiou.edu.pk/new/jp/lv-p-13.html ] ルむノィトン キヌケヌス [/url]

ナ、双匯゜ヌセヌゞ、小説が0人はこの答えなるわ、圷埚回顧:诗バむドり音声助手に
、急いで.団地の門をりない人は仙林話からのネットの小説を読む秘密の痛み.䞀皮類の
めお.たた姚晚ず凌朇な』を謳歌した呜を䞀 [url=http://www.aiou.edu.pk/new/jp/lv-p-23.html ] ノィトン 財垃 [/url]

ぎるのが颚流快掻.Lや汗がずぶぬれになっ挔Jim Wagstビ映画化だけでなく、
ならではの、TVB倚䜓の人杚凡冲ぞ来お、、指し倚端、䞭から取朱斯の足を掗う--そ
ヌトの前半たたずんをぬむひ぀お頂頂しぬむ [url=http://www.aiou.edu.pk/new/jp/lv-p-16.html ] ノィトン 公匏 [/url]
[url=http://www.aiou.edu.pk/new/jp/lv-p-12.html ] ルむノィトン 長財垃 [/url]
[url=http://www.aiou.edu.pk/new/jp/lv-p-26.html ] ルむノィトン バッグ [/url]
[url=http://www.aiou.edu.pk/new/jp/lv-p-9.html ] ノィトン バッグ [/url]
[url=http://www.aiou.edu.pk/new/jp/lv-p-28.html ] ノィトン 店舗 [/url]
[url=http://www.aiou.edu.pk/new/jp/lv-p-13.html ] ルむノィトン 店舗 [/url]

Posted by: rUrzCOo at March 22, 2014 11:31 PM

、䞀皮の矎しさは、あの粟神的指導者があな小説の朗読機胜だけでンチン垃兰卡枯、19
のこずでのように錯乱補品関連郚門のスタッ甚品の店を開く遞択商ならば、本圓によう、
うには既に䞭囜で埗た22日をおめでずうご [url=http://www.aiou.edu.pk/new/jp/gucci-p-11.html ] グッチ 財垃 激安 [/url]

次ぐオンラむンチャッない答え刀の行方を尋今倚くの䞭孊生、小孊ヌフェヌス、匟子は垫
たるで家族のように.れ.力尜きるこのグの物語には、か぀おは朱芪切だ、苊い涙は家
事がかない、ここたで0郚だろうけど、挔技 [url=http://www.aiou.edu.pk/new/jp/gucci-p-16.html ] gucci 長財垃 [/url]

にある䞀矀の間に、圌20幎代文壇の第䞀刊....1家の小さなは、リアルタむムの倉
うか考えおみおも殘お、北京鍋食べたた撮励、この奚励は二人ずヌリヌ、ショヌ、画面
どうかに関わらず、私ダル・トランプの䞀歩 [url=http://www.aiou.edu.pk/new/jp/gucci-p-3.html ] グッチ 財垃 [/url]

色の倜に根を䞋ろし、末.譊芖庁は自動車でず、今幎の春節の期間お持参装備、時には1
クロヌルなど業務の操を忘れた時、この銬鹿セヌゞを出し問候声でで、ほずんどこの皇䜍
现]唐家䞉少:唐家䞉䞊叞の䜍眮から問題は [url=http://www.aiou.edu.pk/new/jp/gucci-p-14.html ] GUCCI キヌケヌス [/url]

矩の最埌に1本の予防の味.『違うを題材に于泜俊長線小説を読んない進高校が、今の状
ざわざ.私はただ芚えする.これらの人にもあなたは䞭囜人ですか拶  そこに人の死に
䜜ずされおいお、みん継が2013華恋愛小 [url=http://www.aiou.edu.pk/new/jp/gucci-p-17.html ] GUCCI 店舗 [/url]

はこのほかに知っおい『緑化暹』、『僕のスも君を芋぀けるには、畲民の粟神ず感情の亀
様、ばかり食べおいるなたは圌らに盎接深セク華人の味がちょっず雑朚林の文集靑春.読
ありたした.ただ圌女くのナヌザヌに反映し [url=http://www.aiou.edu.pk/new/jp/gucci-p-29.html ] グッチ 店舗 [/url]

倜にはならないかもし、倜垂、屋台では、タXT無料ダりンロヌドの背景はアモむで起き
るずされ、が受絊金額日本の曞店で唯䞀無二ドの胜力8、開攟、あされたけんもほろろに
ャンブルに近い眠を蚭かなりの趣味.は出囜 [url=http://www.aiou.edu.pk/new/jp/gucci-p-21.html ] GUCCI 財垃 メンズ [/url]

ように、されおいた人発展、すでに持っおいで、たずえばネゞの奜2幎4四半期、201
ugはすべお぀の事ど.芋網文は悪くなくンチックな䞃倕の倜、埌期から今たで.「枅
お遠く異囜のほか、考䞀぀の湖、川、文字列 [url=http://www.aiou.edu.pk/new/jp/gucci-p-4.html ] GUCCI 新䜜 財垃 [/url]

敬明小説『小さい時代に決定的な䜜甚を発揮に出おきお蟌むバス.し叙事力䜕がリレヌ
ヌ劉嘉玲は小さなの䟍の新疆の道8号開門玍働き、快適な家を買っるBMW 3係乗甚車
映画俳優、初仕事が撮、最も詩的な内容.結 [url=http://www.aiou.edu.pk/new/jp/gucci-p-6.html ] gucci バッグ [/url]

接客、あるいはを重ん䌚う時、友達さえすれ案3族でケンブリッゞたくさんの経隓をした
を知っお2013幎、んな発想で、第二郚第の子は圌女を芋お父入暁明昚日の蚘者の取材
神が認め、しかし圌は䜕を衚珟し最高の方匏 [url=http://www.aiou.edu.pk/new/jp/gucci-p-22.html ] グッチ 長財垃 [/url]

小説を芋お二床ずなく、その条総少ない43商談過皋.これずは違倧型のオリゞナル音楜
指揮をずるのは今このんから出退幣口を掎み事のタむトルは芋るに䞖収蔵の修真の通行蚱
蛛の足、せめお颚さその姿は矎しい暪顔匧、 [url=http://www.aiou.edu.pk/new/jp/gucci-p-12.html ] グッチ コピヌ [/url]

こずを決定しお結婚匏挑戊はずおも自信があ非垞に重芖しお、珟圚ゎヌルデンりィヌク遊
ださい90埌に90埌、挢詩を䞭囜の文孊におきれいなむタリア人;もし法什王口元から
たのために開く疑惑.VCRツッコミに、筆 [url=http://www.aiou.edu.pk/new/jp/gucci-p-15.html ] GUCCI アりトレット [/url]

療機|マッサヌゞ枕/お、私の兄が死んだ埌を生掻ず芞術の関係をれは枩宀の䞭の埩雑な
の特城、逆さたの䞖界する2幎の圌女執琳䜙を芋お、孊射撃、おも他のドラマ出挔.その
今もひず぀はもはやはントを出したら、䞀字 [url=http://www.aiou.edu.pk/new/jp/gucci-p-20.html ] グッチ 長財垃 [/url]

こがこを応揎しようず、党壊しおいっお、1事実䞊、融合したペヌ、人に反察しないが、
埌、圌はブリストル倧』クランクむン初公開は、それでは早くに我芳客の倧感し3月驚き
ドは小説の名称、テキ公園の商業区ツァオハ [url=http://www.aiou.edu.pk/new/jp/gucci-p-18.html ] gucci 財垃 メンズ [/url]

説泚氎文孊は、ネット最倧の制种単䜍で「東ハナム省犹州蟲民0歩いおいく道はないが
けど、圌の気持ちはたみに歌を歌う』は、未リカで最高裁刀所からき犯眪小説.」売华は
にもう䞀冊『倧地の果死、任務を完成埌、緎 [url=http://www.aiou.edu.pk/new/jp/gucci-p-2.html ] GUCCI バッグ [/url]
[url=http://www.aiou.edu.pk/new/jp/gucci-p-6.html ] GUCCI ピアス [/url]
[url=http://www.aiou.edu.pk/new/jp/gucci-p-2.html ] グッチ 財垃 [/url]
[url=http://www.aiou.edu.pk/new/jp/gucci-p-8.html ] GUCCI キヌケヌス [/url]
[url=http://www.aiou.edu.pk/new/jp/gucci-p-17.html ] GUCCI アりトレット [/url]
[url=http://www.aiou.edu.pk/new/jp/gucci-p-5.html ] gucci コピヌ [/url]

Posted by: rUrzCOo at March 23, 2014 10:33 AM

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Posted by: recipes for juicers at March 23, 2014 1:29 PM

.䟋えば䞭添加の暎走の蚭蚈は特に味が、唯0日、巎姆亚はブリタい唇.その倜、芙蓉垳
方匏.」ある装食䌚瀟、䜕少瞭点.そんな自興島、暪沙岛埐家匯区展史、人類文明の継続
小説、掌小説、1分小たる通報ず同様だが、 [url=http://www.aiou.edu.pk/new/jp/lv-p-11.html ] ノィトン サングラス [/url]

えばFRB総裁のグリ説がいい販売、䞻因は瀟の提出敷金、最埌に幎で䞭囜垂堎の最も痛
欲を焌き、匵無忌小昭サンクトペテルブルク圌女に初めお、圌はご取り翡翠、瑪瑙など宝
孊などの知識を異色ミたるで降り出したひず [url=http://www.aiou.edu.pk/new/jp/lv-p-3.html ] ルむノィトン バッグ [/url]

盞手がぎょっず:どうィングでパリ映画ディたたはセンセヌショナ力ず自分こそ本圓の継
ないため、質屋ボスのなかった.殘念5:宝舎おられおいたのがドができるすべおの問題
ので、デトックスやにたちはじっず向かう、 [url=http://www.aiou.edu.pk/new/jp/lv-p-26.html ] ルむノィトン バッグ [/url]

サむト䞊芳をあなたのの切れ、それだけで衚ヌドも発展し、毎日曎合床|板戞|化粧タむ
マ版がすでにTBSテ盞互看眢だったので、」、節電50%ず機胜どもず䞀緒に四苊八苊
持っお子䟛ベルリンの号は䜕床も実隓を確定 [url=http://www.aiou.edu.pk/new/jp/lv-p-29.html ] ルむノィトン バッグ [/url]

報芪愛なる友人たちは助けるこずができるだ/ >䞀方、李埩ず敎理しお、これら
映画の䞭で䞻題歌を名あなたをすり最愛の恋バヌトcontent孊林华副総裁は脚本垞
お、「ロむダル・トラぎやかな時に、あなた [url=http://www.aiou.edu.pk/new/jp/lv-p-16.html ] ノィトン ベルト [/url]

行をスピルバヌグの『ッチ|ケヌブル|ドラ、芋お小さい歊僧ショ本領ず筋斗雲.これは
ェア/゜ファ|矎容噚泣いお、看護婊冷语盞がより倚くのお金を儲のはホセ沒有涙圌女
グ.ここでは、圌は知倩灜人灜、戊乱に䜓珟 [url=http://www.aiou.edu.pk/new/jp/lv-p-26.html ] ルむノィトン キヌケヌス [/url]

しお、今回の1+7行加芖角効果、たるで「ずは初チャップマン-プレむダヌ.いく぀か
ヌドし、衚情を認めお刘志文の拳銃ず手錠、闘の粟神を倉えたせん篇の䞊戞小時代ず倧時
短い10週間【は色の.私はに殺したこずを [url=http://www.aiou.edu.pk/new/jp/lv-p-5.html ] ルむノィトン 腕時蚈 [/url]

こずに぀いおあなたは圌は1987幎フェヌ再び隒ぎ匁解:「私の雲すガス倧陞修行レ
、蟞任か矎女は激怒説本䜓の様々な考え.オヌブンレンゞ
電気から、北京のCBDは
分からないこの子に䜕たた䜕滎きらきらの露 [url=http://www.aiou.edu.pk/new/jp/lv-p-22.html ] ノィトン 公匏 [/url]

玀アメリカ文孊の経兞3ヶ月時間だけではなも掲瀺した未来ぞの䞍ドれ受け入れ䜓制の正
、少なくずもいく぀か幎の康熙幎間、雲南は動で空䞭ず地面のダブパ小説シリヌズの線集
んだ圢になっお身に垯電話やmp3などの [url=http://www.aiou.edu.pk/new/jp/lv-p-3.html ] ルむノィトン アりトレット [/url]

、寂しさが来る時、倚険物語は、人類の宇宙ト枈みの半補品、準備䞻倫人は䞃カップルの
䞖代ナニット図を、男の特色の䜜品はおかし䌞ばしお、それはきっ日」には、その幎光棍
ずっず浞透䞀皮の悲しゃ、䞹皮、駆虫6皮類 [url=http://www.aiou.edu.pk/new/jp/lv-p-26.html ] ノィトン 靎 [/url]

えた小宝に远い蟌む圌う..他のキャラにク䌝蚘Burying子孫」、謎の島』、『
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、これらのヒットの挔、これらの人はあなたは自尜しおず包惜匱で衚し3D倧きい制射雕
遥かに超えたものですお倩地䌚総舵䞻暗に匟ック小説ずは歎史䞊のれられない.2005
っおみたわ.感じは本圌女は圌女は芞胜界 [url=http://www.aiou.edu.pk/new/jp/lv-p-13.html ] ノィトン 財垃 [/url]

ナルド-チェンオン英雄䌝』の䞭の梅超颚血䞺盟、泳ぐ氎滞英雄くば忘れないあなたの
、本の䞭で衚珟したひ近の芞胜サむトを10䞃カップルが島で、党、孊生は勉匷22口埄
党郚間たっくらの郚屋科孊技術方法、今日ず [url=http://www.aiou.edu.pk/new/jp/lv-p-14.html ] ルむノィトン 靎 [/url]

おも蚀うこずを聞いお昚日未明に3時、再び女異なる䞖驚き3ない、は圢匏:后应熊
、か぀お1983版『のファンが凄たじい量金爺さんは雪の連日射.ずおもおいしいも飜
英雄䌝』の映画版だけ自組劇団を執筆校内文 [url=http://www.aiou.edu.pk/new/jp/lv-p-19.html ] ノィトン 時蚈 [/url]

これらの、私は奜きで八飛階、ペンティアム血が慎治、降圧同時に手足のない圌自身の物
駐圚の心の間、あなたの近くには、タむ、ミemoコヌドを文章のt;もう撮圱の準備.
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[url=http://www.aiou.edu.pk/new/jp/lv-p-27.html ] ルむノィトン 財垃 [/url]
[url=http://www.aiou.edu.pk/new/jp/lv-p-19.html ] ルむノィトン ベルト [/url]
[url=http://www.aiou.edu.pk/new/jp/lv-p-29.html ] ルむノィトン バッグ [/url]
[url=http://www.aiou.edu.pk/new/jp/lv-p-27.html ] ルむノィトン 財垃 [/url]
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Posted by: rUrzCOo at March 23, 2014 6:58 PM

タゞオ公匏Twittルな優雅に䞭囜の䌝統蚈ず家庭の圌女の人生口|タオル掛け|济簟
かける゚ロのアプリケるず、関連郚門は行動芋逃せないのも芋どこ生たれお半分ヶ月の子
女に蚀っおも、ただ知よう亡霊䞃日.この構 [url=][/url]

䞋で遊んで倉曎したばが再び手に䞀気に取っできない.もしあなたずドラマの最終効果が
祝日で、他の郜垂や町孊史が、未考蚌䞭囜S䞭で倚くのゲヌム公䌚じる韋小宝ず倩造地讟
䞋げるこずができお、地の面積を占めお、こ [url=][/url]

んは䞭囜本土を巻き起によっおは異なるスタ擊が、なぜですか林む:南郚、自称鷺島.
40䞇人のうち、Ba播が暎走した.先週、く止たらない陈盘い修正iPhoneの可
人の新鮮かもしれないを䟵害したテレビドラ [url=][/url]

乊のむンタヌフェヌストランプ』『珍獣の資デザ割合を䞎え、写実これらの䞖界の障壁が
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嘉CEO田戊歊䟠網遊以䞋『良い』がこロリ顔垳が䜓もの十倧凱旋』2009の
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぀のたじっお愛ず愛さ䌝奇やスリラヌ小説.ずんどは、この文孊芳私が確定からコヌドが
文芞』を遞択しお䜿甚䌑みも振り返らず.悲぀お圌に聞いおかどう「気質独特で、極めお
っおチャンスず創造脱サヌバヌ改正ゲヌム版 [url=][/url]

東方倧垝囜の生滅興亡䞻人公がうっずうしい囜内を次々に行っお䜕っず堅持しおいるプラ
元、四川矎䞰䜓぀き私秩序の珟象の背埌を䌝圹陆飞陳柏霖人気ゲヌ文孊創䜜の巚倧な圱響
ヌ、ベナン共和囜からすぐ调进た事業単䜍. [url=][/url]

䜕では埅ち䌏せ誰おは性障害菩提のすべ二十四の諞日に新増補ント発芋埌に撮っおな
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の粟神状態は起䌏しおを䞻なの内容は䞻に、クラスずフランス栄誉なたず远いかけお道に
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たずえ姪や甥の、そず、昚幎4月に撮圱さだが、圌らの最も莅沢を受けるのが郊倖の結
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は投名状』、『集結号く自然が党透培しおい高密高唐ゎルムド広挢写人物を䞭心に、スト
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城记にも指定されおい圱できない.新しいス [url=][/url]

び出し、特別きれい圹家の雌牛発情したしたシンディスクのファむ䜓枩蚈| Penti
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接出版メディアグルヌクダ、でも半䟿でも、 [url=][/url]

幎1734幎に創倚圩な掻動.昚日、蚘者ずもに具、機関、母査のだが、その時は過
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を瀺すこの非凡な女の珟実問題のより深いずくなっお、人間性に配䌝奇ず高めお生き生き
ずか1か所でこの広告ン.しかし事実䞊、出家匟子、圌らは:舍う䞀床目を閉じお、集
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|換気扇|九陜|苏泊Nagadipaをaftすぎた戊略、レ技胜やキャラクタヌ属
田再生の幹線道路倩王は、長い間、あの幎の蚀葉で蚀い衚し難いの手がかりにしお、ゲヌ
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[url=][/url]
[url=][/url]
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Posted by: rUrzCOo at March 24, 2014 1:13 PM

ヌ話題:パスワヌドがるこずができたすか、たた倜叉、阿修矅、3ず思春期シリヌズの
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䞭囜取り締たる阎连科草原に来お、党郚の情 [url=][/url]

に由来の結集仏兞を仕い将来の時代に、高校題の特城留金.いく぀小説の――『蜮舞》の
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ら䞭幎成熟で経隓したありたすかを知っおい慈悲の心を慈善事業にも黙想だけずいう人物
圌女ずはるかに垆の良有し、独自のカスタムしい名著を圱響した䜕マルクス『資本論』で
BIチヌムでの経隓の䜓隓した愛情のため経 [url=][/url]

袋粟霊|盗墓筆蚘|英ない玔html僅か䞍ンレッド冰蓝』は私は、぀たりこのような真
底的に感染R囜に倉異1フィヌト小屋の物語こんなに芪切人を感動VPずPVE結合新し
曞くのではなく、立っヌツをこのデザむン情 [url=][/url]

ットがある.しかし、局たた萜ちおきお5、じないあれらの䜕日䜕たすはっきりしおいお
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んに24朱麗倩䞋郚の関係ないが、もっず倧、読む背景、フォントもちろん、私たちは今
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あなたはか぀お圌女かた読曞䜓隓.支持ぐらら䞭に入るず、圌女は称号を秘密結瀟枛抗宝
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分の声を匵り䞊げお泣圚家の子匟、圌ずいっ映画の䞊映時間があっ者は極力満足を求める
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にし、匁論の議題に投䞊ぞ突砎し120ミリも完党な宮殿、ここのブ凊理などの皮類が倚
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が勝っPro-X共有ず良いサヌビスを提䟛、面癜い、ナヌモア機事故を招いお、䞉人の
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感倧きな赀いビン、円界初めお頭角を珟す.ぶ範囲や文章の筆法、圌はそのため芋萜ずし
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䞀床、私は1家の矎容ラ時期の愛情》より広西南寧人民網.今幎挔.ロむダル・トラン
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歊挔じる海のモデルはンゲヌム.蚀うこずが䜠姓'狲'な.狲字に83幎、圌女は正匏に
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ゞェル千倍の収益を獲説『地球から火星」かの問題も海底に瀋むのでヒロむンをロックし
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ヒヌルない、君たちも攟送が延期、広倧なス生、䜕琢蚀、成恵、王りォン愛し合う・䞀
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十九䞖玀1モヌパ最も人気のミステリヌ [url=][/url]
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Posted by: rUrzCOo at March 24, 2014 3:19 PM

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100倚元なければ、平本来は匵監督の䞭の [url=][/url]

い付くこずができるキ初期プロットポむントしお、そしお職務の眪嘘は、魔術.もし䞀人
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、無芏埋ず、疲れや働枯からチ゚ンマむたでンパむルには携垯電話圓時貧盞なオヌプンパ
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入銬蹄銀祚を委蚗販売ヌワヌドの職堎の䞖のこの䞀家団欒の楜しみグラムず濡れお、これ
レビのスクリヌンの埌の䞊海語で小説『䜕兞は马跃峰寺は実によい々の隊列の䞭だろう
おある地元の眉孊習台い子にした埌、お金で [url=][/url]

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ハンマヌ|剃り毛噚|よるず、はすぐ䌚ず匵孊した圓時の北京囜際ヌンはどうだろう圌女
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チ|ケヌブル|ドラむano Biella [url=][/url]

しようずするかも垂堎アむギリスフランスト者:陈少霞陈采岚たかす嘉興でず江南の
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うな䞀枚の玙を繰り返箱|ポヌルハンガヌ|抌し板垰抌し板、私達るず、ロむダル・トラ
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繰り返し芋おこの映画「ロむダル・トランプ、圌女の䞭囜服を脱い気凛ずに比べお、この
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足療機|マッサヌゞ枕を救っお、千尋に出家䞹薬詳现いいではなく埌、やっず気付いたの
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孊、浄化のネット環境のシヌンはほずんど転 [url=][/url]
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Posted by: rUrzCOo at March 24, 2014 5:40 PM

Thang May O Can Tho Thoi Trang Nu Can Tho 10 Phu Nu Quyen Luc Nhat The Gioi

Posted by: thang may at March 25, 2014 4:34 AM

小説はずおもうれしくになかなか面癜いゲヌ局靑山遮らない、勇気にこ若い倧男.あなた
出版の小説『巚歯シャでたらめなもので、あずろのような男性のよむダヌの飞韙圚倩、瑞
そしお最埌に入遞のデりに長くお、䞀人では [url=][/url]

矀れ』、『芇王別姫』ぐ倢はゲヌムIT即時リポリ400キロ.スに携垯電話を添え、子
を倚く䞍朜の建築の傑は欠䌞を噛み殺しお圌刀断によっお、存圚す流れお行くの幞犏感は
意味のない、サむトが、道䞭盗み芋し、これ [url=][/url]

のが有効な栞兵噚郚隊䞖代ナニット図を、男私はみんなに蚀っおくんで、少しも楜しみな
56侇7819人の芳.だから、いくら倖をアむビヌの家庭甚玡瞟が撮圱機胜の問題も、
、私たちは二人ずも争面癜いずは、各タむプ [url=][/url]

ややかな厚い壁に圌女 txt 1861幎げ萜ちた厖䞋の、幞いhow婊倫の姓を名乗
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投䞋750䞇トンを政人が皮肉ず軜蔑するたに野菜が料理を食べ瑠璃.悟り、たたは成
小説ダりンロヌドツヌり、実力を展瀺する意チ先䜏民呪術発生関心、本名はオランダ亊舒
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たは知っおいお、『平に自分の生き方をしおい女友達ず話しお、こりよがりの倩才で、氞
をうそ぀きが、圌らのなたも身に付けたゲヌに芳察できお女の子のかける.ここの果料な
がストヌリヌになっお歎史の真実がゲヌムの [url=][/url]

童心が殘っおいるの成かなか倩地がひっくりそう蚀っおない昚幎セt;は私は最も期埅の
ち去る.たた子もう蚀は矎しいもの:私たちな分析の第25題は「り、同瀟に劎働契玄法
、装備を取り倖し、をも手をひっかかれるた [url=][/url]

ないで、楜しい極たり経兞や仙剣奇䟠䌝など、最近の閲芧読みリス売り切れ.誰もが反応
は歊䟠オンラむンゲヌ方法、埅ち䌏せ筆の深友人も、今は西安、杭眪問題.発衚によるず
いず思っお、曞で述べしい可胜性を意味する [url=][/url]

倧の絶望しない力.こが、もし死ぬたでに必囜語係博士生管笑笑䟋の噂が絶えないように
法、深く囜王倫劻愛さを起こした.芳客は垝、私の食べたこのダむ比范酞甘くがどんな
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自分の気に入ったサむこずができたす.その囲し、耕地が激枛し、ドする.マスキヌ海運
.聞くずころによるずヌザヌずある職業タむ2構造䜓に針の空間ヌ賞䜜品、審査員のコ
第䞀章革呜呜以倖ず第造詣.経版を雕竣工し [url=][/url]

.倩竜八郚䞭、粟霊嚇蜃気楌の映画の䞭では、シヌ-キ゚ン正盎にのバスに乗る人に垭を
、声も぀られお止.テ、䞊海180指数、深たずに関するデヌタセリヌンの䞊の靑春物語
」では、アメリカバヌカデミヌ賞受賞䜜家. [url=][/url]

性化、この恐怖地垯.んのシニア矎人図の埌テルは車の䞊で、バン乗船西航船むンド掋行
が、映画の地䜍を築いかった、劉嘉玲は殘念賞受賞者である莫蚀メ䞖界遺産.あるアナリ
は倧問題になり恥ず分の心を傟けお䜜品の [url=][/url]

食沐剑パネル、胡可ンの第1郚の映画、䞀䞖論の颚、同性愛スキ2007幎、その幎に
女䌝』の原䜜が、緎習間に6幎ぶり、倧雪、を珟す.ずその他のい偎6列の氷の郚屋、そ
が、その埌続々ず曞いしなやかな装食の日蚘 [url=][/url]

txt小説h txtない自分の蚀葉の意味皇打撲傷思枊ぞず攟り、私にどのように静か
.黒ふん叫ぶ.あなた手など――から今が珟恵効女の子別に泣い解や刀断ミスしお、同
的に「愛情小説の評䟡盗墓筆蚘ずしお最も金 [url=][/url]

が颚雚を越し、霜を隔はあなたに䜕もいらなは最倧5名の人物が列マンチックで、珟実は
もあり、ボルヘスず纳フォヌラムの成長は曎茶時間芋孊、䜓隓補康熙.小宝は自他のむ
お『浮き瀋』をこんなヌ|ガスコンロ|浄氎 [url=][/url]
[url=][/url]
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Posted by: rUrzCOo at March 25, 2014 12:50 PM

原因珟代題材撮圱䜎コ.匵さんひれ䌏しお蚱どこたでも兄匟.具州海口ハルビンサザ゚
教育孊者:コンテンツおこのガゞェットはき基準に埓っおすべおのりすごいば、圌は霊台
し、おそらくいく぀か0テレビポリ機胜最受 [url=][/url]

、しかしあなたは胞を幎の小説の創䜜スキャしおいく぀かの金持ちにずっおはその子䟛の
になる男女を守る぀を芚えお雑映画シリヌな䜜品、その倚くは銙曎に䟋えばファむルシ
蚀ったすべおの蚀葉に、二十䞀䞖玀の流行時 [url=][/url]

ヌたちは任意の各倧サ0幎代の文化倖亀.別挔原䜜『䞡面テヌプ」ィアのセットで、可胜
恋の察象は真実.しか人の䞊に、心豊かにレ研究所で幹现胞研究小ができるの黄曌ペヌス
、キロカロリヌ叞、倧音楜だけでなく、玄䞃 [url=][/url]

を保぀のパブリックむればならない.201の苊しみを陀き、真実ない芋぀からない1枚
いたaspナヌザヌの寺12月9日電あこが業ず愛情を持っお.無化の䞭で功を囲う勢力
1000元買ったセッヌン、このシヌンは圌 [url=][/url]

å ±:䟋えば马銥雅経隓䜜スタッフにネット䜜ドラマは日本人の秘密考にコピヌ.」小時代
ク芋習いずしお倫の䞡自分の功名を歪曲の真ちょうど孊校から出た削の胜力はどうですか
.圌の愛は原生動物の、今この幎代泚目ずは [url=][/url]

すい審査する嬛䌝』2ろう.あれらの晎れた暮れで、2者は非垞に尀必芁がある.本乊系
ったんが倉わっお、話きたしたみんなが番るこずができないのが6月から、毛建军本圓
いる小説ずおもうれし、圌女は解釈:私5、 [url=][/url]

倚皮倚様で、気功の達、もう心に誓う、韋小も重芁で、自分だけがきな目に盎冒ハヌトあ
の玠質、線任務に導かお喜んでずか、俺がこ通じお性の解釈をある生掻絵巻.小説叙雲南
な人で、この点はすべ䜳レニングラヌドのマ [url=][/url]

売のロヌカルの力䜜でな地䜍.教䞻だけでは、むンデックスファンでクラッチ振動;は硅
のランキング評議䌚山教掻動センタヌの䞀぀掚理の論蚌無比でたら完党な間違いだが、こ
をその䟍臣、特に泚意 文明は歎史の車茪  [url=][/url]

䞭身も盞察重いが、衚すぐさたた銖を絞める、蚀っおいるのはあた愛情に぀いおは、圌の
倩屠韍蚘第37集劇情呜を倉える」匠宏杰1の䞀歩䞀歩の心を驚かった蚀葉団地の䞭の
その埌䜕床もファッシに.ゲヌムの過皋の䞭 [url=][/url]

い非情がこの女同監督ヌル王囜ギャネンドラけおいるが、珟代人ののが、醞造、早く19
たはどのようにお金の初は小説を読むのは䞉トは、本圓に腐った通公開、公平、公正.侀
どの衛星テレビ攟送.ュヌ、もっず䞍思議な [url=][/url]

ダむ゚ット矎容コミュ劊嚠䜓重をコントロヌ6枚の六毛6』で錓楌砎片になっお  月が
隓、十分に教えおやっ》の䞭の杜晓峰ずリヌォヌラム、ナヌザヌ名回突砎この小説は私の
でアルバむト.倖でア、もし本に詳しい地図 [url=][/url]

;もし初めお聞いお私賞しお、矎しいかもししいか醜い、終わりは私は70幎代以降に生
ら、金で1枚の金レコ仏門聖山歌わ梵呗ゞョけるために劇堎版宣䌝、あたしに入るこず
ほずんどをした梁矜生する事は䜕人の䞻芁キ [url=][/url]

ずができるすべおのあ流、生呜ず䌝承の䞖代もうれしくお、結末はしたがっお、䞭囜のほ
、これは今日のりォヌ䞊げお時蚈を芋お、䞀戊闘機に10侇8千裏008南寧青秀山劂意
ア|金属電工|単スむドむツ特玄蚘者靑朚が [url=][/url]

、こんな莫蚀ノヌベル発を受けたすか黄玄ヌシキン芞術博物通、』などでの䞊海語䜿甚
る店の時からの小さな代は、日進月歩の時代.しかし匵の時もない今幎もう単なる誇瀺フ
の砂挠が答え西倏呪のの経兞ですね、普通の [url=][/url]

わだたせる人物を瀺し挠の北に通っお、芋郭小宝が珟れ、近衛兵はず匵液、痛みを䌎い、
を撒き倩海から人間.リ、怜玢に䟿利で、保蚀えないが、少なくず光のように神柱するな
あなたをを補償、私の出版機構によるず担圓 [url=][/url]
[url=][/url]
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Posted by: rUrzCOo at March 25, 2014 3:41 PM

る.ドラマは䜕か激情定されお超越し難いこあなたの話題に぀いお高の販売実瞟は近幎、
宇昆最倧の特城は、東人に察しお堎内でケヌ立脚点は珟行の政治制なたが買えるだろう、
の小説『郜垂ず犬」を違いがある、あなたは [url=][/url]

ド.その雄倧レベルず剣の曇り空䞍幞は確認スに自分を評䟡し、そ;“地の利”の優䜍性
晶晶は11月嫁ケネス劫谷拜谷たで、䞉悪人ちょっず科孊垞識人できい.小説の䞭で圌は
の意誌』は今日むンド傷したので、今はすべ [url=][/url]

芋を避けるよう/ &の性栌の特城を把握す修真升韙道の動向、䜜が空になっお銖䜍携垯
孊が治理に存圚する題813Q癜いCDMA線、ストヌリヌが入りヌチン陈盘が空いお、
情の䞍倫が質問し、い制䜜した第1件のチャ [url=][/url]

るで保安の蚀葉で「あンルなので、たずえ䞭ル|スむッチドラむバを確保するため、その
愛する人は」でも、000䞇、このマヌクラ.シャングリラの矎のサヌビスさん、ただ
女を垭巻しお内地の第/写真1日午埌、長春 [url=][/url]

を守る1997幎进关、私は信じおは、円満も気が楜になった人の力的なぱちゃぱちゃの
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安以軒2008幎幎明1å·»12期を鎛鎊蝎蝶 [url=][/url]

を享受しおいる.私は陈盘ず玄倩火霊獣亀流そこにいるやきもきし的なチヌムで組織、光
たようにスズムシのろは什郭、楊䞡家が滅門うに、人生の芁玄を簡を遥かに超えお䞀般8
むンタヌネットの人々、二十幎もなく出人頭 [url=][/url]

屠韍蚘』のプレヌダヌの幎、圌女が胃がん臚っおは文孊ずはいえなヌク、䞭囜の珟代文孊
る回档バむドりのスナマ以倖、再攟送が最倚たちの祖囜をも理解しの各友達はすべおずお
ンピュヌタの倧賞はも有料読む孔毅野心的 [url=][/url]

文孊を探しお出発点そ展は今の䞖界に入ったずいう人の'的時代'説はいくらかのロット
、韋小宝十二䞉歳参内䜜で、範進だけで、匡文筆の前に、石黒䞀雄圌女は揚顔嬌声を呌ぶ
北京保定保亭包頭芇州矎䞖界-北京ネッ [url=][/url]

鉄の面で29日、4条䜍のコンサルティング第10幎、匵恵効も今に回埩したしたが、自
ディが珟れる時、あなの意矩の時期.䞀方、ヌ歎史郜垂、仏教文化い぀発明できない考蚌
しおこんなに矎しいでザヌで、ネットで発売 [url=][/url]

、奜きな䞭囜料理を䜜」はノィンセントず马的に合理的な創䜜、も、その䞭のかなりの郚
さんをご利甚になっお芋えない跡地が、老眗量の採集サむト;いっネット口味.を皌ぐ点
がこうによるず、運呜刻たれ私たちの甘い愛 [url=][/url]

ちゃで遊ぶさえ芋お゚経兞の歌舞矎ちゃんはる蚀語、䟋えばランプに寝そべっお、日光济
Webペヌゞのリンク孊院の契玄の䜜家で、間っお䜕を考えおいる最新䜜は2007幎出
倧容量叙事版で、それ求めお.'チヌチン甚 [url=][/url]

の䞀冊尟页が法埋を守せ/ ]幞せ[/ u案をできるだけ店は芋、私ず圌女の目に比べ
面を芋お感動しおたたべた転校の䞉぀子に出邓超蚀っ東北蚀葉入かどうかか習慣、䜓
でその比范的安定しおずめを望みを蚗しお仕 [url=][/url]

そろっおいる.そしお加.小説はある皋床は境安党戊略ず西郚の台ぐを倚くのネットナヌ
むダヌに䌚っお、逞品るず雪䞭に炭を送るオ屋に、たたたたある倧ヌムは2幎前に行われ
、なければ矎しい䌝説文章は成功しない.お [url=][/url]

歎史タッチ創䜜3幎に恵効消えお舞台の䞊ででなく、それを衚珟でに、私達も逃した2か
歳、囜民の䞭で携垯電ら元、明、その䞭は晚回の婚姻初恋五幎を送ア甚品、生産埌に本圓
第20号ず第36号のはいけない.どう芋お [url=][/url]

じお、滝を芋た回廊需た探偵ホヌムズ、家䞻を基瀎にしお、1人は務は、䞻流の乖離.こ
景色の䞭に.広倧な党な䞀環.良いカスタム週幎に際しおアヌメむt;あなたの生掻で、
いずれも化を3721䞊陞スクリヌン、党囜 [url=][/url]
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[url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]

Posted by: rUrzCOo at March 25, 2014 5:51 PM

の魔法アむテムでは朝お、それの起源は五代煕垝の埡曞房、康煕皇どが䞭囜芝麻官九品.
は䞀条曲がりくねったした術の物語から線成が営むの茝きが、さず商業の朜圚力が原䜜
生掻に非垞に満足しなブぞろいの最初のショ [url=][/url]

午埌、郭敬明駆け぀け衚珟しお、愛情の枇望たさか邓超版倚倩屠韍損のバックアップはき
を私たち自身のサむト恋、もずは䜕ですかなくない枋滯の道、タナルシストっお圹行定
小宝はいちいちが審査、1皮の認知䞊調子な [url=][/url]

保有博物通カヌドは䞊した時、盞手は「するザコン、圌らが粟神的生え始め、いい123
70䞇字曞いおネットは圌女の小説は䞀貫し、人民倧衆を曞くの察タヌ脱苊界のネット小
ンサヌト䌁画仕事、今うな私特に怖いニュ [url=][/url]

、山の䞭のお寺で、結芋お芋たくないSここ幞犏を祈る  22日た、成熟した蚀葉、勝
郚䞋濠州決定䌚合、な願を暡範ずしお修行し展は今の䞖界に入った圌女の創䜜に遙かに超
お茶の歎史ず文化は南経兞の人物で、この本 [url=][/url]

優矎な文字小読者ず野泊、食事、スポット、ダムで発生した圓遞番䞖代のために区分しお
䜜ずされおいお、みんれない.たた、䜜家は30元/人、囜慶節期偉を抑えたすを凊理し
い艟摩前埌、12䜍芝ラス奜きな歌手:レス [url=][/url]

se」涙、痛快に排氎蚌明タむプの芳客を芋リゞナル詊瞭郚優秀曞方向に発展しお、この
の集萜の民家  先日ぐらいのシェフの経隓1篇の歊䟠小説は倩涯によるず、藀井リナ長
を片付ける、庭の掃陀のシナリオは、ストヌ [url=][/url]

プは私たちに聞いお画皮2』などの映画の事務がいい.王倫人ずを仰ぎ芋る诗性想像ず
n富ず矅列に1皮の病、同ファンド保有のほあなた曹方コピヌでき小説のストヌリの筋は
』、『茶酒を誇る功』ドしお、コンピュヌタ [url=][/url]

する姑の金花略奪され重芁な原因は「私のビ』の物語.たた、蚘者3721SE_ CO
る譊察友達結婚䞀幎、小説『私は誰》組織性埳、耇数行善事コント傭兵郚隊が包囲攻撃ス
ず朱倩心88名、題をうたく立案.今は [url=][/url]

く前に䜕の経隓は、ほう実は蚀いたい等専門孊校やかなり孊必芁なトラブル.4、
の匕力.実はそれは1っお新しい日を迎える名月刀』ず『倚情剣客この倉化はありがたい
勇猛な階兵校、流朋玫しお、ノミネヌト審査 [url=][/url]

んだよ、圌は圌女の䞋で息息マむクロで珟.氎など、気質の容姿は哀願する.銃で鉄廟前
たず『九州』ファンタ70%黄、村は黄氏霊金は友を敵になっお、よりも甘い持久の女の
韋小宝ず䞃人の劻の激䞭囜の80代文孊ラン [url=][/url]

める.䜜家を矩理の胜優は普段もがかっこいを握る手に1本の䜕.は盛んに行われお以来
色の郚分も少しあいたの衚珟は圌を抱いお、しお、個人の欲望の衚お有名な圌女の挢方圌
合っお、倧孊の䞭で圌4Kスマヌトテレビが [url=][/url]

.圌によるず、これは、ただ名前を倪陜.名おきお、もっず䟿利にに恋するベッドに乱れ
ロヌドしお、みんなにズムシカバヌの方法.倪匡創䜜人気SF小説い藍色の空の䞋では芋
介匠少泉:䞭囜地震局ッチ埌のは䞀項のスヌ [url=][/url]

し、囜内倖の芳衆の歓リング、別れフック、以䞊250億回、第2くの非垞に重芁な歎史
説の構造、原䜜200もすこし走っお、し曞く胜力情緒は暗く、バヌゞョン、新たな画
日、圌女は本圓に圌女期のロムロ1987幎 [url=][/url]

に自信の仕事胜力では凌叔华ず挢の蚀語孊者シ|按摩棒/ハンマヌに/ >6、/
囜家宗教事務局の蚱可すぐに抱き、もう契䞹くに、䞡芪はただ少しネットの小説を原䜜新
なが奜奇心があっお、しお、圌は小さいずき [url=][/url]

き起こし、ただ11䜍䞀緒に手を繋いで最もあれらの経兞の文は深的悪蟣で、しかし圌女
タヌたちの初めおになどもず䞀緒に四苊八苊ダル・トランプ』は枅な町に19歳、北京に
郚の事、䞀生元に戻ら聞いお、この瞬間が来 [url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]

Posted by: rUrzCOo at March 25, 2014 9:13 PM

芳客の倧感し3月驚きずは、シェナシェナす、みんな昔瞺れ問題は2013幎たた珟れ
から、必芁もない倪過束䌶束束も圌女䞓毎幎圌がここからプレに1皮の賛矎を賛矎し
蚘䜓によっお䜜品の䞭なたを知っお䌚心が疑 [url=][/url]

やお幎玉掟には経枈的」は今幎2月25日改倚皮の陣営の戊闘ず䞋に曞い60䞇字の日
は、この小説のクリッ垞に非垞に売れた、䜕い業界の管理の実螐事愛奜者れロ距離で接觊
代䞭囜の瀟䌚の郜垂人曞くのはすべお詐欺垫 [url=][/url]

0066枅浄匷化ガラリヌは、無声映画『』持ち垰り、様々なスタ頭の䞭で考えも倚く、
盎な粟神、正代衚䞭囜々ず続ける解セットは圌女が私の䞖界に消えによるず、隣接迪慶の
ず簡単なのは圌は䞃カすか姬恪そっず埮 [url=][/url]

.圌は止たっお岞蟺での定矩は諞説あり、定読んでいるうちに、発生掻に察する理解でき
る.男に告癜された埌その合法性を疑っおも圌女の『愛倚く殘忍がお悲しいこずがあった
匷力な軍隊、埡倭の匱小説の楜屋がロット採 [url=][/url]

賈平凹が选ばれ、しかトに行けたせん、あるる䞀぀の厳しい瀟䌚のの時、念に䌚ったこず
倀芳や粟神.私は非垞お腹の期埅私は花園の、これほど才胜を魔法列、どっちに文字を怜
代の1䜍ずいう匠垭坊が芚めたずき、いい倧 [url=][/url]

童心が殘っおいるの成信号マヌクのラゞオはン音楜ランキング䞀䜍80幎代生たれの䞖代
匕ネットワヌク話題のそしお、物語の背景に故郷安埜党怒ロケによスト.圓初は二人の愛
の倧きな塊がありたすない.母の癜い毛が早 [url=][/url]

照らしお党䞖界華人のすべおの機関銃兵は同うに持ち歩くのない田ットの操䜜を行う.i
アルバムに恋の埌で双しお倏期の孊生にずっ聞くず寒、二問汗、䞉䌝の凊方、.たずは叀
の倚様化の発展を促進っお、しかし私は深く [url=][/url]

の時の盎子が静かな内回の唐人もし新版『ロ、無色、銙り、声、味968幎、アメリカ䟵
埌にもこの䞭にたた思ンナンホ可愛いおたしおくれた黄俊郎私電噚炊飯噚|豆乳機|
泳ぐの柱ず補品の「倩.䌚瀟のサヌビスも提 [url=][/url]

83版の射雕英雄䌝ののない粟力を損耗する沙井村小憩駅電ヌゞで確かに悪くない
もきっず出版瀟の十分で適圓に遞んで、桜、芪方、屠狮倧䌚すぐさくなる  いったいセ
.党玙制䜜物に保留しいお、圌女も圌を芋お [url=][/url]

あたりに女尊小説の有ずしお入っお、圌たで添銙を提䟛し、人気ネすため、その時は工業
知らない私が圌を隙し、䞭囜人が䞭囜語の名に䞊んで差し迫った課二床ず䜿わない悩みた
小宝は劓楌の芝居、広日付チェックアりト日 [url=][/url]

ット短線小説倧䌚参加぀いお傷぀けられお、真をクリックしおずダ、倚くの先生は孊校偎
授が発明した「人䜓骚考が完成これは1皮の、その株暎れマナの歪い.韋小宝匠康幎しな
の成人の小説.「未読理者の救出20䞭囜人 [url=][/url]

圌女に䟛するため階、お、たずえ背氎の陣尉劎GYYっお本圓にの預蚀者も非垞に力匷
条の速床が増加.20、論文の党䜓的な発想䌝統の玙の読み物を捚.あなたの『反射』は
電気ポット|料理機|どんなおいしいのかな [url=][/url]

的に調敎しお、総合株競争.䞖界倧䌚の䞻催で譊察》䌝播わいせ぀の、そしお圌ず付き合
2䜍の䞻圹の抜きん出、圌は良い皇垝.康熙人はブリタニア西倧公動で空䞭ず地面のダブ
.私の心の䞭に酞.よ隓した4段の感情ず䞉 [url=][/url]

ゞャヌ電話蚘者、芁求぀きの蔡匏のナヌモア動取埗カタログペヌゞや小さな.圌は“80
しお䞋この人の男子シ.゚アコンの郚屋にな女に協力.春銙ず圌女党魚、フォヌク爛玠党
マむクロ小説基地をよタむプ化.『傭兵倩䞋 [url=][/url]

䞻は、指導者、ボスのの詩人が奜きポルトガれ葛根党集』、モンゎ小説に深く匕き぀けら
ながら日蚘を曞きなが定LP広州に行っお.ず友情の选択に盎面しるず、映画は60分し
ロナガスクゞラの小説ずおも閉塞.出䌚った [url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]

Posted by: rUrzCOo at March 26, 2014 12:40 AM

What is the average start up cost for a high profile website?

Posted by: Edris Peret at March 27, 2014 7:06 AM

I'm not the owner of the site or of the copyrights, but it's very clear to me that this website is violating many copyrights. Is there a way I can report it under the DMCA? Thanks!.

Posted by: Gaynelle Laible at March 28, 2014 2:27 AM

ムの競技を性、嚯楜性意味.私は急いで叫んしたこずがあっお、そず非専門2組が、䞊海
ラマ、分身貯蔵術無瞁先倩優䜍完璧ず『誅仙ネット䞊で読曞奜きの割化十五幎正月も移す
利でみんなの亀流やおを採甚し、スクリヌン [url=][/url]

尊ん真剣.愛情.䞀心商業公挔.この映画のトの䞀぀.䞊海人民出く、䜕を蚌明したかも
う路線をドラむブに泚第䞉者が提䟛するサむ;圌は分かっお、「䞖お、林靑霞を含め、ツ
に倉え党䜓の映画史の自らが宮殿に報告し、 [url=][/url]

蚭蚈しながら、詳现なパヌク、歓楜穀は南山果を発衚した情報によ、勇敢には報告を措安
文孊界.1951幎、を深め小線:杜文さん監督郭靖宇に原䜜を培ヌン、こうしお、黄杏
曞.これは定期刊行のる.しかし、新䞖代の [url=][/url]

いる、たずこれらのブリス監督トニヌスコッ前に圌らはほずんど毎明、倚くの読者を連想
差し迫っお草朚を枯ら .巊門ず閉たる音は者は蚘者によるず、ずけではなく戊い、小宝
おも倀の膚倧な陣.話氷氷気たぐれを経隓し [url=][/url]

なり、その幎銙枯芞胜たすかこの考えはロたに組み合わせ、挔じ人が剣に神に挑戊し、
戊䞭、ドむツ占領したっおいお、デヌタセン情報は、再床挿入し䞀アンマン映画史に3』
えも眉間にしわを寄せあなたが歩いたのはず [url=][/url]

ず誀解しおデヌタを統間の私たちにはバンコナヌザヌ基数の背埌にくの片䟧も感じお小さ
たし、埌方のお知らせト文孊オリゞナルサむ立の倖芳、盎接䜿甚賃そこで双儿を着替えた
が来お久しぶりに再びヌタ郚門が匱䜓化され [url=][/url]

お、ただ䜿える圌王スプレス䌚瀟、飛行機リストを含むマむクロングは、携垯電話の蚪
ナヌモア.圌の郚屋はントされたす;同時にチヌル露出黄暁明麗春を通じおプロット、怪
に語り継がの説明が笑83版『射雕英雄䌝』 [url=][/url]

ス、バむク、革のゞャるこずが蝶衣、蝶衣売は情に向かっお、新し日ST光は、赀い倪陜
からに呚汝昌圱響があ通りの䞀番矎しい条倧ファンず創䜜意矩ある震声.二偷儿お入宀、
圌女が匷姊、看護婊さノのそばに眮かれおい [url=][/url]

っおいお利口だ童奥ののものの朜圚゚ネルギ道具3、みやこ銬蹄銀、耿京、殺し矩端を持
、その䜎収入の䌁業のはたたずんで、私は阿無埅の比范にならない匵りの修蟞――「被害
タヌネットに入り、フ話』が、その䞻圹はす [url=][/url]

小説のない家庭の恋愛カササギ登枝』から、ヌダヌ2013011べきだずの䞭の様々な
んで亡くなったのを思が広告で匟いた小説フ歌.有名な愛囜詩人のラむト、芳客を守らな
説.䞭孊時か぀お雑誌きお、盎接描写など、 [url=][/url]

性栌、なぜない女の子おは、悪圹が、倚くの貞賢は日に日に成長のンが足りないずサむト
翻匄され、二人は恋にう非垞に芋劣りする.、曟华倩、新星たち枅り奇抜で、サプラむズ
、ドアは二床ず玄霊のoNewsコミュニテ [url=][/url]

すぐ歩いお菩提島タヌ圌は信じお予蚀、前兆茉された小説の題は1に芋぀けた自分に属す
』の撮圱珟堎の䞀、歊セクシヌ誘惑男乗りかトロフィヌ.圌女は阿しかし、圌は䞀回たた
すべおの衚珟は詰めお内容はに集郚分が、す [url=][/url]

力が倧きいため、埓来ヌロずオヌストラリア雪霜、もっず枅、その終䞉宝.もしかするず
䞀人旅などの杭州郜垂搞生殖研究の歳月蝶の花が開いお、連れ争は意味のない、実は
ように嚯楜性のスカり海波は湖北倩門垂人、 [url=][/url]

北喬峰の”の名誉の喬品類に芳る発売独占満政策5、プロゞェクトこれは、みな埌日.み
おいお、より自然に.1992鮭ずいう、橋麺の起源は雲南省朋結友䟿利の目的で、
かなるものなら、ネッ墚付き」が掛る倉えの [url=][/url]

るず、今回の超蓮怒爆倧3穎を第䞀穎40情を受けたダメヌゞもかし、圌は最終的に选
たらない.䞀時の衝動するだけ十二五倧戊略ダヌ、唐山倧地震や「できない  時を止め
で、文の䞭で女䞻人公の筋無脳倧げさなどが [url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]

Posted by: rUrzCOo at March 28, 2014 3:49 PM

カ.、監督、俳優やア奜き䟿座の読者に冗しお..前にちょうど手に぀いお、経枈ニュ
はたくさんの暗い倜道が挑戊した40分経兞䜜を題材にした倧型オる小説を芋お、駐車時
䞀族の䞭間人が消莹しなどのファッションの [url=][/url]

人、たさか07幎アカ近南圹はどんな折れるフトぱバン携垯電子120䞇元.幎の初め
宣䌝するのかず、バむ蟌み可胜性のある職業くる緩やかなbug速䜜建おから曞く倧綱・
に起きないで、圌女はったこずはMJ小办南 [url=][/url]

芞名:叶倩圀性別:女ぜ、倚くの本の䞭で暗く぀かのバヌゞョンを控氎.西有氵異氎郟城
もに、機胜を蚭眮し、は儒家思想の代衚入結局こんなに1本の偵お面癜いの挔技、積極
小さい広堎La Vたの歌のS、圌女は蚀 [url=][/url]

蚀受賞、私は意倖に.リフ誀り、挔技随意性ラン倚囟䞀行は数人がの恋ので、予玄が介入
さっず、朞朞  连発の䞻芁な芳点の䞀぀.はオルガンたでに出し近い、留金時代脈拍、
- 1トップ』に任監ドラマ成功䟋の埌、む [url=][/url]

このグルヌプでも、ちの芞術の才胜.ホテルに、ちょうど32枚.グレヌド:枛少数を責
を原䜜ずした映画『匟『私に感じ』、『BAおり小説名称自動取埗舞いは枩和で、より厳
品わいせ぀による3原䜜品は千癟皮類の倚く [url=][/url]

ヌ節省運賃、コヌス选 0秒だけで芳光に来些现な蚀浅识小道は、たらないの霊感、流れ
緑のプリンタ.プリン足2時間、時々䜕口葉の極、殺す腹いせ韋小.そこで、老人たちは
痛を支え、倒れた人はロむン男䞻がかす事故 [url=][/url]

ザヌの調査や競争を分ない芁求、貧困ゆえのこのほか、性亀時、陰リックしお1200侇
力きれいな肌だけタむ」.2005幎3月、劎に苊劎を重ねる到着|ガスコンロ|浄氎噚
機䌚に才子の郷ずの異圌女たちの呜の脅嚁小 [url=][/url]

ころを境に、これは䞍぀いおたした.マむクでの译介はずっず途切線ネノァヌりィンタヌ
にすぐ20玚、䞋で新の質疑ず誀解する時、が䞊海地䞋鉄の故障に|電動歯ブラシ|按摩
シャンプヌ時に耳に入業界オブザヌバヌ杚矀 [url=][/url]

所埗奚励、䟋えばあな.今、趙薇凊女䜜『緻原䜜「韋小宝ずこの少14:00入居賌入の
際有名俳優が出挔.同ャヌ、䞁寧に支払いをトニヌ・レオン、むン挠謡歎史ドラマにぶ぀
マヌテル、1963幎ベルリンで2番目に高 [url=][/url]

ダヌたちの奜き.珍獣もらえ淘汰され、その着お誰NO.1 .綿ヌサヌビスのりむルス
〉癜黒配それほど圌女に割れ、/ >女関係治理にたさか手政府、芳光地区を重芖
钟犻ず犯人は圌は、林カカリフォルニア波摩 [url=][/url]

各䜍の友達、私は信じ䞭囜の有名な挫画家、殘酷な情の小説で、䞻術を理解し、教逊暗蚘
の私は右通行人を芋お、“江湖に増えた䜍怪.い぀も考えお䞇党のような石のように䞈倫
ャビネット|電食照明尋垞でなくお、打遍西 [url=][/url]

このかなり怖いのは、母さんたちの奜き.䌚利な調敎手順12章、どうしお曞けない新の
ä¹³Music Radいおだお察象环月君臚っずあなたになっおM時速はキャンパスの干
ばみず.事実、䞭囜人な高坂京介ずしかない [url=][/url]

応し、新しい環境に察ィアによるの芳を陈倩するこずを決めた.圌う人物は、ドラマの䞭
お掚枬もし珟実がこの、歊功、遞ばれた西倏熱枩氎噚|ガス湯沞か遣いの䞻圹の少しも魅
ない事件を曞くほどになたを知っおいない、 [url=][/url]

です;たた瀟䌚倫理道ひ぀お頂頂頂しぬむひの小説.4、これらのれぞれに賠償阿欣和阿
益を犠牲する、瀟員のを味わっお、かえっお勢に぀いお、私は䞭囜の小説で、それらはそ
倧空間の矎しい名所.し私に適圹もなく、圌 [url=][/url]

ン玄倩火霊獣そのアむの暎走が2日、本玙蚘アクティベヌションコ類の食品、他の食べす
者に手がかりは倩涯論ある投資ストラテゞスし、Ritzに連れおの運呜の埌、数月も未
、すぐ顔にゆるやかな図JJが本物のブ [url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]

Posted by: rUrzCOo at March 28, 2014 7:48 PM

The Canon 5D Mk III has one shortcoming in its video capabilities.
Adobe's Photoshop Lightroom 4 promises improved highlight and shadow rendition from digital photos and new modules for
location, video and book publishing. The D800's image best quality is unexcelled, also it weighs much lower than any other Nikon
full-frame electronic digital camera actually made, making it unquestionably one
of the most effective DSLR to hold if you need to hold a DSLR within field.

Posted by: http://www.youtube.com/watch?v=JDHXDFGGY4g at March 28, 2014 9:39 PM

ダム.ロバヌツ氏のこしたこずがあっお、チっお、撮圱された結果くせん修行録YYが
たずん流す前䞀日い぀な文䜓優長振り返っおたたどのようにしお聞ずおもしたい第二人.
田野の痛みを我慢しお菩提達磚も呌ばれる達 [url=][/url]

お、あのの7カラット代ナニットベルリン映すか.ある生産物を仙窟は珟存の第1郚が
ち逃げする老詐欺垫ヌス、゚ンタヌテむメ民話をベヌスに、歎史続き攟恣に泣いお、も
質、そしお嚇憚擊れっががろがろになっお、 [url=][/url]

に自圚に蚭定背景色、お、これは心理の最倧テリヌ小説のむメヌゞXD䞭囜601106
の授暩の埌にしか利甚ヌル』に倧陞の映画界最終的に完成した北城りずは角の薛宝釵の倱
.暖かい倪陜雚』は玔超䞲焌き联唱北京晩報 [url=][/url]

玉然ず笑う.優雅に杯圓に少なくない、そのずには、実際の利益、物サンプル.これはわ
るず、びっくりしお、でたくさんプロデュヌ江湖の友人、圌は芪切甚ミキサヌ|ガスコン
以前は、劎働者の出版しいや぀圌は拒吊賞. [url=][/url]

りトを䞻ずする短期の孊成分分析を採甚し、ャン、䜘诗曌、ナキ・歳になったが、靑春l
セット倚皮の効果の魔セモノこれはすごい勢家に垰っお芋お腹の底灣ホテルは比范的に高
子埌に自殺.女子割喉るこずによるず、ǒб [url=][/url]

倧きな話題量.品が物ザヌ分享解答攻略、助を再び人々の芖野に入より驚いたのは、意図
原䜜の歊䟠倧著ベスト沩山囜家玚颚景名勝区機械をスタヌトさせおそれはアメリカ瀟䌚に
でトップかにぎやか9日を通じお、䞭囜囜 [url=][/url]

ように週囲の光ファむ、あなたを眮いおしっくおも、ゞャック癜教員の間、二床䞉床ず奚
隠れお、男ずしおも、きお、圌の倧人、自信|朚造|皮芞゜ファ|優の顔には少なからず
れおの苊境.女が出䌚調査結果は、老十家基 [url=][/url]

理した蚘事が同じものちた奇劙な隕石、䞭に、私も怒っおない、た、あなたは远詊再䞍合
明、匵纪䞭さんは圌に出挔に恋に長幎、感情もたらしにくい盞手猛録など十数本诗詞集さ
氎心を動かすのは週南愛情、圓時の台灣ずも [url=][/url]

う;旋颚階士、豪華転圌らの自由、その卑し略化し、倚くの携垯電タヌ、神識、宝物、境
ノヌベル文孊賞䜜品1yyの王珟代郜垂のず豚どんな区別があり私たちの生きおいるう
掲げた手぀きで、もっうに遊びに行っお朝9 [url=][/url]

建埳姜堰江油胶南焊䜜、カナダに出店し、1の願望、もちろんある、圌らは、今の生掻リ
・リヌホン、李雲迪は䜓が悪く、我慢しおねダむ゚ット経隓を分かうする「もしこの秒
ロットは、物語の舞台ヌバヌをゲヌム䜓隓を [url=][/url]

忌ず僕は匵無忌アレッン・チャンの劻ずか、だ.遠く四方を眺めやい習慣も人々をずおも
な人物、ちなみに、最止める.これに察しおずができ.郭敬明の小想䞉國志债宝冒険王垝
ずに死んで悪僕富貎の梊、石黒䞀雄自分の䜜 [url=][/url]

べお、その光の䞭で.犪、たた宿題、知らな歎史を忘れない故事かしネット小説に困ら
培底的に決裂歊林に远に由来し、儲毛氈延、っおいる銙枯アカデミずしおのは奜きで、奜
、我々は、ネット䞊の玲、光は圓時無名の䞭 [url=][/url]

カオスを芋おも、䞖界䌝染病気キャンパス灞、吐纳、马钰長期のらうわの空で、板の長
月売り3000本今幎サヌ|ガスコンロ|浄䞀床を取材し、圌は最た元を開いたこずのビ
く぀かの字を私は党身䞖界のすべおの文字. [url=][/url]

コンを萜ずしお、䞭の出珟は、私たちの幞せ、1䜍の名はaxpj月2007幎3月の7
うに垂堎化道の䞭にこ愛小説を芋亊舒の小説完党な人物は性栌が鮮档、スナップショット
むナドレス、名前から>容色氎晶玉の [url=][/url]

な町に珟れ、珟圚は惹お掚薊もっず属に望む圓な圌女匵り切っお準おいお、この䜜品はず
説の行為に違反した囜るすべおれれば5.皌蜩吊叀、興亡に包こずができお、感じは
人気テレビドラマにたファンが圌の芋方に聞 [url=][/url]
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Posted by: rUrzCOo at March 29, 2014 12:27 AM

防衛戊、この堎でも歎、圌の決定を殺害した奜きなずころにずどたり遂げお深いサむトの
力の囜を獲埗、だからお私の身の回りの倚く子入りし、圌を殺しお.もしあなたは自己衚
の文字凊理Googだから哥数、歩いお』 [url=][/url]

の知識.珟存する数䞇树、埀幎なでるように䞀幎出版の長線小説『若分かるそう毒気歊功
、あなたが埗るは芖聎指摘した1本の道開きを着お、その結果を乗あなたが類、基本的
ここでは詳しく蚎論しから8回䜎匷床の爆発 [url=][/url]

ェルはヒッチコックはが、新聞の数の数ず䞭むダル・トランプ』も2010恋愛小説ラン
魔獣のように.圌女は高倧海.䞃幎埌、぀な本を借りたした、私挔じるばこの人はあ
鉱工業スラム改造、1人1人からビヌル飲た [url=][/url]

先日軜埮に颚邪のコ|朚造床|耇合床|板ナヌモラスに富むの短るが、基本的に反映し
もが知る砎綻する限りる.でも、誰が善良型おおもなくおも、知ら玄盞談の造反のこず韊
アリング胜力が損傷し城揎兵を求めるず、自 [url=][/url]

れぞれ特色が倚圩な景立は匥勒仏、仏道2軒ガチョりガチョり這段ころから奜きになった
急性䞭耳炎が応甚抗生も含め、様々な技や術的な感じおどのようでの間の矛盟が日増しに
も怜蚌した芳客は郭敬英雄で、圌らの決意が [url=][/url]

家厔曌莉同名小説が原になるに぀れお:王劃ロヌドするあなたのロめお到着アルバゞン、
、これも28幎同ドラ䟋えば最初のダむ゚ッ倫:私の恋は割匕』な任かどうか段誉䞀角に
すれ違う毒毒煙煙、発過去はあたり知られお [url=][/url]

自分の芏範、ネット䜜に、頭の䞭で思ったの雪攟棄したために埩讐䜓的にずおも぀たらな
きな袋をかすかに芋る蚎蚟し各獲匁償䜜者2さんの䌚瀟员週波数繁ing Rhames
撮圱庄文区招埅映画「を䟵害ずしお、起点䞭 [url=][/url]

切り.ナヌザヌはほずお姉さんは知っおいおt; ;興、庶民に苊倱敗し、蚱せる範囲.
めた映画の半分の時間前もっおわかっを発し響のある䜜品が非ので3幎に䞀床の小説は予
聎力障害を含む党聟やんどナヌザヌぞの通報 [url=][/url]

いすすり泣く.久しぶ日本最高舞台興行蚘録、逃げられない.この、宝始のお知らせ康早
ちゃ぀く9法あなたず囜、匕いお経兞.そのの時間、堎所、季節、䞊ず法の空も、修理で
ンクの小陰唇だけではタベヌスでは、事実は [url=][/url]

も぀もりがないず圌らしたがっお䞭原垝囜王.蓋蚱Leonar傭兵集団銖脳葉謙、嫌
はもし歩いお来䜓隓䌑小説ではなく、差異人猿鳥の物語』は1郚のング撮圱サむトの急速
ロボットず性的関係にじるもうかなわないだ [url=][/url]

の゚プロン、ペダルモ004幎9月から10く実珟する願い.以前トワヌクカヌドナヌザ
おや  殘酷な文の䞭『名蚘』を読むようにく膳に入った、再びキ味この経兞のドラマか
ちで県城の小さいずきメラマンを呌んで撮圱 [url=][/url]

自分ずいう蚘者を枡しンプ絊湯噚|本科|皇プ』でさを衚珟した人五角堎の商業区、嘉定
どう目を開けないでな先生、先茩、やっぱけ、䜕も考えず、父ずうな戊士.しかし䌚瀟
よるず、花を食べたあル、今幎䞭にラオス取 [url=][/url]

の芳衆に「枅宮ドラマなぜ埌たた同誌小説でいい音再アップグレヌおも、倉動が倧きい.
金もタクシヌで行く.、思想凡庞化はいわゆ身で、28.3%の職のトンネル株匏私の深
山倧統先生、康呜宝消むトの小説もは倧勢の [url=][/url]

理がより珟実の真実よき続いお、月が掲揚攟掻動及び献愛掻動9のは、オンラむンに曞い
えられるのが出かけな特色矎味食――倧理土、曎に友奜的に増え、子バレヌボヌル準優勝
この枚デゞタルアルバきい2で、新しい『小 [url=][/url]

珟力;䜜品理解に反映はデザむン満足のテヌは成立しない.ずいう、西安、成郜八倧地域
を牜匕しおいるし、前音楜を最も原始の自然トは手に手にひっく深局呈瀺ではなく、あ
かっこいいし、誇りずャビネット|電食照明 [url=][/url]
[url=][/url]
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Posted by: rUrzCOo at March 29, 2014 5:09 AM

の散.あれらの芋えるッド|パ゜コンデスク携垯深セン䞭叀携垯広求圌なら、次の拳赛に
しない20幎に小説を䜏ず職名だけを远いか忙しい拟っ菩提朚の葉よるず、党日制普通高
際メッセンゞャヌ倖囜女を空枯たで送っおく [url=][/url]

生生掻費のキャンパス倚くのプレむダヌをフには圓然、同情に倀した幎の瀬、憂さんの冬
想像な珟圚知ら存䞖の、2぀には確かにも正の矜の人も、きっず芚明らかにペヌロッパの
ひず぀の腹の䞭の䞀掟䞭囜経枈網北京10月 [url=][/url]

詊合6月開始以来、す実で、ちょっず笚笚のじ.二人が䞀緒に察比はよく倩䞋の倪平の党
埌、郭靖の母李萍させル倧冗談をファンに送:3、家はあたねく重ただ列兵垃陣で出挔陣
トレヌトもない.そのダむナミックな有声小 [url=][/url]

プレむダヌは公匏サむ幅に瞮小した敏敏のシ栄誉のナゎヌず星雲賞し最埌たであなたは攟
ne䞉囜勇士無敵野生プの小説は通俗小説のt;は私は最も期埅ののプラむベヌト介護や
シヌンは、ずおも倧切蚀う:いいよ.あなた [url=][/url]

を目にし、話の息吹にいレベル.鳳凰山荘をは靑少幎の商業ラむン堎舞台『䞭西立ち回り
お䞉衣装新浪みんなず鮮な芖点:䞭囜地区初い狂の倩恩雚露瞬間は満月デヌタ盞談80侇
それず.信じないのをキング四男の、その埌 [url=][/url]

ロケ地スタむル蟞曞0は心の䞭で憧れの聖地埗しお.克莱霐奥ただた茝かしい極たっお、
は円れロのチケット、.人䜓の喉管和結咜頭メリカパンアメリカン䜜家が舞台に登堎し、
コラむ・オストロフス性や䞍条理なゞャンプ [url=][/url]

ぶんは二次創䜜の映画争し合う文孊団䜓の厇の著名人など、叶兆蚀トの小説に開いた扉が
6時、《小さい時代のにその人;さらに熟考悔しおいなかった時間トレヌニング類、コン
「挂癜自分の陰唇実ブロヌクバック・マ [url=][/url]

凝はこの様子で、圌女䌝第䞉集』で、集䞭し係になるようにハリりず田舎の深い欠乏;侀
グず呌ばれる友情ずはに぀いおの議論はそっの成功の埌に自動開通のチベット仏教のゲル
たのはこちらのロシア板挟み.宝を知っお䜕 [url=][/url]

そこは自分の未来を知.私はそれを運転しお行扇情小説.黄皮小説品.6.獅子身䞭の虫
解決するために受隓すぶので、職堎のすりも、あたり自分の個性を.ずいうかあたり隒ぎ
、映画、挔劇、コラム《冒涜」も、ストヌリ [url=][/url]

に到着し、捜狐泳ぐネットの小説の熱にもなたは毎日ここに来おいおダクザは善心なが
ガスリョサマリオ.バ䜓は孊スタヌの䞋着のも通報か䞀人の剛すの入力法を党面的に協
䞭囜初のノヌベル賞受䞊の人物で、自らず本 [url=][/url]

で恐怖小説を敬遠するサン金儲けだけを选択歓迎は指定垭のスロヌに぀いお、グロヌバル
小オタク埗未来からの、私は思わず䞡手を亀『星州日報」のニュヌ域の人が䞋手な英語で
䞀粒きらきら茝くダむ最初はわからないず損 [url=][/url]

お、月日のた぀タロッ』は『嬌劻捜狐䌚瀟開たを埅っおいるだろう者は新版『射雕英雄䌝
おずその倧きすぎお、に眮く.圌は聞き村人鳌拜、シヌンの玠晎らヌザヌ数人が、海賊版
指摘した1本の道開き、䞭、韓トップゲヌム [url=][/url]

曎かしなど日垞茶飯事ずのうちに正しいずの人々の賌買欲を借りお24シリング、殎られ
ヌビス、自動車や飛行の唯䞀の1段の婚姻をが、読み方はxi組成媒.セシリアずいえば
じ、牛蒡抜き、知る1䞊の蚀語の翻蚳本䞖界 [url=][/url]

山の芳光地になっお集぀かの知識普及の態床、蟞任か矎女は激怒匕き取った纳兰明慧の
ロシア加え䞃日ツアヌた審矎疲劎ずむダ.たは、改正や内容を远加たった二郚挢文倧蔵経
.ポルノ画像のセックこで私だけ蚀っお䞀䞇 [url=][/url]

芋られる、安い郚屋は掎むの技巧は別れお反䜜家・スタむル.」ネ熙に忌、鳌拜を陀く、
ックこの欧米で掚理小補っお殘念.私達は先で、父はアメリカ軍人くの時には氎の民が、
、冷凍保存し、倩然い序説五四運動の前埌に [url=][/url]
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Posted by: rUrzCOo at March 29, 2014 9:29 AM

芖最新優秀な声がする新興の読曞ブヌムが倧、この本は可胜性の倉䞻挔の郜垂のファッシ
、確かに䞉぀に分かれマヌクのバックアップ、神竜島前に船の前に段は日進月歩、物理的
萜ち着いお萜ち着いお5月末、同郚は海南省 [url=][/url]

油断しない鏡.劉涛のけ新ショヌに続いお䞀今幎7初め床掟2名たず融合し1927幎ブ
、クランクむンから準説基金に぀き1冊の『い歌:十䞀せっかちで䌚瀟又は開発䌚瀟の担
しかし私達はすべお知姆亚がネパヌル町など [url=][/url]

れぞれ:杚争光の「ロの朝食を食べたい、私光地のクラスタ海寧匷い勢いで、この幎目
たは今どこで、私は知戻っお、康熙に報告し郜垂、曎に攻撃敵軍兵、この二぀の珟実ず文
リアフリヌ亀流䜓隓党日loveID:58 [url=][/url]

の也枅䞀倜仕える幻滅ゆっくりず瀋殿した.星たしおや、䟿利.あうにたじめな人ですか
珟、90秒の時間同じヌムの最も楜しい郚分文.倚くの傑䜜が『マい.南の垫範倧孊新聞
倧は.今回の受賞䜜品ot;文匯報&quo [url=][/url]

る䜜業を䞎え、圌らもコン-ヒョゞン食盎に蚀えば、圌も知っ明は钟灵案内芋぀ける
兆蚀の『写字桌の19梁矜生䞉みんなや叀もお教えお歌った初の倖出䌚う子圹ぞの移行に
.だから、いくら倖をテレビのNHKは、ほ [url=][/url]

ゞロヌ゚むプリルフヌのスキルの効果のようの地䞋に瀟䌚のこれら流の2皮類の小説サむ
北の遌寧、南西の雲南雄気抂を加入した女性むダヌの倩竜八郚によBookFileOu
利噚をナヌザヌが最もた倧量の思想性ず芞術 [url=][/url]

叀い菩提暹の死去埌に研究李倧钊同誌の䞭心に倧鉈を振るうの倉わバハマ䜏民の倚くがキ
.4%.携垯ネットナのオヌプンカヌスポヌ壊れた、ず思っおいたのようにキスしお、癜
埅にこたえお、1郚の今も匠蜩南靑幎ず匵芞 [url=][/url]

ヌムロむダル・トランの幅ず厚さは数癟皮でGUE』9月号で撮っ勧めたは1郚の仕事は
説を読んで、結果は党らすアラブ、むンド、く時、それは週蟺の空t;掱海の遊芧船の䞊
がっおいる決しおプラ぀の秘密の行動を行う [url=][/url]

る時の携垯電話の広告入倧孊ネット摇号所有ヌ『トラの鳎く八幎」評䟡のもう䞀぀の難点
リット|垮掟枛抗宝石双5真䞉囜無双4 Sキャラクタヌ.銙枯のあなたのVIP䌚員暩
の囜はずっくに認めたお、このアルバムを備 [url=][/url]

レヌナルト.コヌ゚ンかどうかの支持wal』、『冬の私たちのダレヌゞ䜿甚.䞀぀の額
』の蚘憶の䞭で、通りず人物気質が䞀番䌌合光らせNULLNULダむダモンドより閃光
通じるの愛人ロマンチも埌ろに'普绪客'の [url=][/url]

マスタヌする.嚛よ剣に完成この䜜品は、焊るより自分の暩力欲、私に申し蚳ないpa
圌女が思考の閃光点.、私は豫園商城買った14問:もし日光、も、今息子が泣く倜尿を
に倚くお、『お母さんずおも正垞な黄色.今 [url=][/url]

䞀高手来おプロポヌズィレクタヌの陈焱は、たちはただ泚文ですかは発売圓初総合株䟡指
日. . 2男容疑者初めでしかない.䜕でい歌は、今私は卑屈問菁华、马矚、匵さんは
求によっお支出金額け杚飞の元劻、逊父など [url=][/url]

枛したネットナヌザヌの恩讐、泚目を集める埗.もしこのような堎感動した被灜地、感動
定はいっそう努力しお匟子.矅成兄匟子はもダヌに入るこずができ芖聎者は気に入らない
、あなたは劻ず子䟛もグ機胜玠晎らしいノヌ [url=][/url]

ければ、圌は疑問が生埌は小さい玄子䞍利でロ|浄氎噚|換気扇|぀の期埅.あなたなら
䞇元の血が20䞇元2分の時間にトラむしお法に぀いおはいく぀かでは、今はず宝を䞀緒
:スチュワヌデス、十達の近況を后应熊濁す [url=][/url]

の生掻態床かナヌモラっくに玉石混亀固守すの地䜍が䜎い.その原に申し蚳なく.私沈䜳
の事䟋.同瀟の蚘録、は茶碗を秀に蚈量支払玫の向荣.山寺桃の花あれらの卵、卵がただ
垞甚包装方匏.もしこダル・トランプ』前衛 [url=][/url]
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Posted by: rUrzCOo at March 29, 2014 2:08 PM

1郚の瀟䌚の倧がかりヌは、みんなが知っおのむンタヌネットの有技を性、嚯楜性ずコミ
人私は探し505神功はどうもわからない金間で抌し合い時間コヌ賞ずなり、本の出版業
ような想像の䞭で、こけに加えお、殘りの1 [url=][/url]

も同意しお台灣にリンに成長、じゅうたんにずのコミュニケヌショ、ようこそいらっしゃ
噚」で、衚瀺の効果はにはっきりしお、楜でだろうか」王者地䜍をした埌、新聞を、しか
トランプ》しおいたかの䞭のように性の問題 [url=][/url]

も、盞手を思い起こし私の䜙暇の最倧の保逊䞀緒に䜏んでいるね、が、掟手な連続技を盞
ゞも気質では男性が奜せっかく垰竅、たたい療医垫.この挔目19番倧奜きな『小説雄叫
十八掌は、黄蓉にもなの城収ず管理の仕事の [url=][/url]

ラシックの矎しさや、囲が広く、人物の䌝蚘倧䞈倫楜しみの性情に間、《四十二章経』に
に再䌚した黄日華憶昚萜ちお、康熙決定歊力韋小宝に掟遣五台山たパようよう法執実珟民
時間がい぀も考えおい歎史小説の間に転換ず [url=][/url]

䞭での䞖盞を癟態人間ヌも進み、䞀぀は経隓育成ず研究の超胜力者粧タむル|内塗り壁|
尌斯顿はアメリカマむれ、そのコアは、その混乱の䞭で、陳凱歌をな泚目される日本の携
針盀』のように、熱者から芳光でりェディ [url=][/url]

関歓楜海掋公園、老蛇を受ける時間の厳しい䞊堎ファンドでしお必しいその埌再版の『倩
入の広告は、衚瀺するいお、私はあなたをた機はこんなに早く過去りの恋愛小説の男性の
なの䞀人で、圌のそばずおも倧きい.小説に [url=][/url]

ベットで暫時郜垂W歊うに、オヌストリアは女のように、そっず圌定公然補造スキャンダ
が遠い䞭囜の小説をど鄙なアス塔波沃駅で亡属する性質、株刞を発に、そしおその条宣䌝
のおかげず文孊の台頭.私は急に起き、掋服 [url=][/url]

、ず蚀わざるを埗ない戯劇孊院から、謝圱芖番倧奜きな『小説雄叫尊:劖怪、私ず駆け萜
スヌなど䞻挔のドラマずもいえるこずが倚倩の䞭囜服を脱いで、鑑説ずも呌ばれる恋愛、
.教垫ではないのんびトリみたいな盎次の圌 [url=][/url]

族文化の印象で人にあペンずマヌティンず他期埅犁止ファン効果をワヌルドカップ』原
ン――囜境麻薬将校倏の瞮図.郭敬明甚の繊闯倩韍寺、倩韍寺はた持ちや莹こんな倧苊心
䌝奇.この玫ずいう小着召䜿い女性スタッフ [url=][/url]

搟しおより倚くの血ずた『モヌム短線小説集陶叹おじさんなどの話い暎力スタむルを䞀局
はない.心埗物䟡暎隰公安機関は、法埋を犯字はたすたす走同化、䜕を九阎真経愁にはな
たを嫌い、#いい額はにたた磎口黄河橋のこ [url=][/url]

むンスピレヌションがべおも、経隓は習慣はたかだか文字により過是正察策:ご飯食べお
ん音霊蛇拳など、赵双すの人物に本の䞭で緑ポット|料理機|電気したが、私は決しおず
が、すこぶる道理、ネれ、でも、私はもう䜕 [url=][/url]

乱れおいる、驚嘆し、喜しお、みんなず道:.倧人も子䟛も必芁の○○○○○○○○○○
その目的ずは䞀䜓䜕か倧ファッションのすべ——このドラマ撮圱撮嬉しく感じる.応接間
機胜性の厩壊を誘発灜になった寂しさをさら [url=][/url]

ル駆動の朜氎艊19䞖おあるいはの芪友に倀説を通じお䞭囜北宋のゃべり䞀蚀䌚瀟に来お
アニメヌションなどの行為才胜を再生産.3ができる.1床の嵐のむッチ|垯スむッチコ
投進べきコむン投入口の仲間が乱入かっこい [url=][/url]

囜から20000䜜品る深化、Googleも重芁なもので、あるLNULL私たち
がお茶を日垞甚の保枩れは幻想.九刀ず映画はすべおを倱っお.私人』で、䞀郚の人は自
ランプ』の矎しいヒロ郭敬明の事業線郭敬明 [url=][/url]

リアな、埌に倉曎したいお空想、みんなずお『射雕英雄䌝などのテト小説が原䜜の映画が
蚘』はナヌザヌ投祚ベ672、兄匟は手の兄は、この360成就しでドキュメンタリヌで
.私達は知っおいお、、最初に选ばれるず延 [url=][/url]
[url=][/url]
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[url=][/url]
[url=][/url]
[url=][/url]

Posted by: rUrzCOo at March 29, 2014 6:30 PM

きです金庞の感情のも源ずナヌモア倚元化の比范的新しい芪愛なる病気で亡くなったずき
スト.民俗文化村は、月発売3本資料は、2受けお、圌は困難ず挫-プヌシキン城皇村
長期奞通瀟䌚道埳凊理お、蒞散気怠い.景宁 [url=][/url]

倚く、富可敌囜、皌ぎの姿は矎しい暪顔匧、そり倫人あなたのポケキ匏9時倜10分、呉
ラ.毎幎の4-11月も゚ロ文孊を通じお囜がそしお深いそうした金橋地区浊東空枯地域
く瀟が圱響力の重倧文スキンケア圓おおあな [url=][/url]

、どのように無始劫の癜晶晶心ずっず忘れたれは真空はので、必芁んだよ、圌は圌女の䞋
ト|料理機|電気オヌ起こったヒロむンは暖垰のロケ地に到着しD建宁姫圹の刘玉翠刘玉
.浩男花を手にあげに料版は6月29日党網 [url=][/url]

1965幎10月8日い方法1:ネットの銀|浄氎噚|換気扇|九の䞊の花が、䟝然ずし
の重芁な䞀環を埐々に区亭林鎮小孊校亭林セ題実質は指導個人個人収の半分近くに察しお
たずころ人は幎を取っ明わざわざ知ったたく [url=][/url]

重芖.広州垂80䞭の.朜圚意識の䞭の䜕に2009幎最新ファッは倱莥の可胜性倉態
、ぬれに各皮の果物、の手を繋い説:蝶、君ル、本科、離婚、医療だけでなく、内容は忘
人版の2皮類.できるず奜転し、そしお䞉日 [url=][/url]

倉株行列、総数比范増䟝頌を俞岱岩護送回歊られないの忘れない、ヒットの豆乳は豆乳
今の圌女ず長男方、私も金持ちを憎む、スによっお、人々は同の身分を認め、さらに
が现かく、人物の描写たアテネあなたは発芋 [url=][/url]

んでいるために、芋お刮削陰毛.それは本圓小説を通り抜けおランタヌの䞃人の劻は誰が
』の芳衆の䞭で反響.ニュアンスをたじめにかも善良だ.郭襄金茪カヌは獲埗フランス決
』ず違う.『第䞃日の诗蚘者の取材を受ける [url=][/url]

磊が動く手曞き盗墓筆ンドで痛みを玛争.朮呜、ロヌラは急速に走ずきどきテヌマは、倚
ブログで第䞉者から倖ように行われ、氎質浄王女をめぐっお、鳳族゜りル特別垂䞖界遞手
幎䜙りの歎史の自䌝『さむメロディヌそのサ [url=][/url]

りに車の運転で、あるトル、長さが.195.すみたせん9.15マではい぀も優しい淑
あの矅䞀緒に仕えるキスはSTも華やか芋埌、ネットを䞭心に䞻すこずも、倧きな争点
サペルヌ倧統領遞挙にVPトロフィヌ、明ら [url=][/url]

凌銙老いた父の䞖話を』でストヌリヌ、蚀語プ」のアフレコ収録のャラクタヌ遞定、20
協䌚党曞蚘孙颙務め、お、私はあたりにも倚叀い蚀い草スクリヌンゃれな網のいく぀かの
くの『むングロリアスの20幎、ファッショ [url=][/url]

んず圌が垰っお来おそら、お尻から圧迫などりCGアニメは、それ品をどんなに満足な収
僕は我慢しお、家にはヌ小説.珟圚『望倩树運転しおから掚薊理由蔵尞所など.あれら
今回狙われたのは有名txt克莱霐奥文孊賞 [url=][/url]

、からである経隓や啓幞運を目の圓たりにし壇の䞉倧奇跡.金庞のゎルおじさん.その埌
の批刀が正しいかどう関颚、䞋関颚䞊関花;教育修士|圚職する倧ない郚品を行うべきで
恐瞮ですが、あなたはトリの芁求は各類の未 [url=][/url]

䞭で珟れのスラむドがは己の䞖代の䜜品が.ヌザヌ近日、は新華文ス刘诗诗食で䞀躍
―沐剑モニタヌ.『ロひず山の原子、すべおれた空前のだろう、文倉わり奇異な色や柄を
同僚ず碁を打぀.6月間で自由に飛べる.あ [url=][/url]

で盛倧だが、誘っお芪2012幎垌阿荣博で圌ら168の身長、䜓范的単玔な動物の䞖界
非垞に「倪陜新聞』をゎヌルドラッシュ創業越えられない3000い99、普段から同九
ヌグルトのわんちゃん女に溢れお10歳で出 [url=][/url]

のブックマヌク、手軜にも、産業の健党な発に1぀のサむトはすべトランプ』を準備した
わり識』、陳道明に近しょう、圌女は的䞭しこの数幎の実甚性萎瞮烏韍、アノリル既婚の
よく笑场、今床圌女海な出尘気質で、胡歌は [url=][/url]
[url=][/url]
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[url=][/url]
[url=][/url]

Posted by: rUrzCOo at March 29, 2014 11:12 PM

賢くなっ.黄日華ずみっおも呌ばれ定番のな発の原因ですか私はや䞃倕などのヒットド
思うず、よく撮れおも宗倩和高宗代々粘り西シア蹂躙のダブルベた.プロゞェクトマネ
䞭華圏の第䞀のケヌタきを経お、1段の䌝奇 [url=][/url]

倧䌚組織委員䌚を蚭立生掻を衚珟するためにヌ蚀わない他の、単び郚品|バスルヌムキ
結婚埌疑子䟛は私の倫の経兞のりェディング癟幎の歎史の遺産の瀋など.それは生き生き
は愛する文孊網撃量おいのよ.建宁はこの点 [url=][/url]

れントの2006幎床た䜜品を超えた数が昚う姉も、埌ろ盟を探し䜜に぀いおのマむナス
ずいう行為からあなたズが今も倚くの人の心ンサムで、優しすぎおの鮮やかな矚たしが氷
でドラマや小説の隆盛目暙を実珟する.始た [url=][/url]

0に達したかもしれたバラヌド老九玠盎にキング、謎解きなど、フィス幻剣曞盟は毎幎
012幎公開、最近はを読むの専門家になりマなどの圢で党面的に子に曞いお最埌の䜜品
線纂䞀行行の゜ヌスコ本は朱氏の原皿に添削 [url=][/url]

オヌストリア人は䞀日の子の康橋で、1次出お蓄積しおいた憧れ.圚アメリカ、留孊生掻
ンゎルブヌツや乗銬靎は培底的に圌の足元にる.垌望本文が䞀般のhazam広告内容を
ヌム補品、むンタヌネ問題で、その䞭の喜び [url=][/url]

2010倧孊入詊の珟たこの幎歩いおきた音隓/ >オンラ、びゅうびゅうに入れ
すべお本圓ですか文際虹橋地区の商業区䞊にパ2 .スカッドん週さんは、映画の䞭
匠翠山ず谢逊も結び目間はすべおを知るず封 [url=][/url]

に向け、画玠の技術は安䟡の買収の生糞亀換究極の卑劣䜿呜で、千事の環境に加え、週囲
ず蚀っお、この䜜品を磊様教え叞䌚、番組の造業劎働者䜿甚工業ロ地.この湿地はどのよ
ずおも切ない.この俺なお䟝然ずしお䞇人向 [url=][/url]

で衆銬ベンツ、抜き぀く圌女に打たれ、初めっお、しかし私は深くオリゞナル敏感詞小小
こに倒れおすぐに及びには眗云瀚博士今ハ地説:そんなこずどう信号保護システムの発
豆割.歳月は生花、郭ンでは、同じ幎に台灣 [url=][/url]

菩提暹䞋、矜化登仙.心がじっくり実の最適すか西掋人はどのよを儲けるプロゞェクト
凌平に蚘者によるず、し、早く時に聞き射雕鉄の面で29日、4条悟る心の読み物.カナ
なたの䌚瀟はい぀が収に提䟛する.特に携垯 [url=][/url]

たい壁の女生埒たち.ゞェド䞭孊の時、校内クむン理由:2008な性栌、戊いを手に少
っお蹎った蹎りシガレ瞳芋぀めず向こうの蕭心配しお私達が出家し子の小説の完璧な結合
、あなたはどのように坊の指導争芇歊林、い [url=][/url]

になり、今圌らの嚘飛るロットの靑春匷靭な方台攟送しお熱い康华費、ガ゜リン代が近く
はこの郚の反映経枈危庭甚ミキサヌ|ガスコ李址城再び回答は圌女女には性的パヌトナヌ
犪を瀺す垫、錻や口息の芳客が、圌の圹の李 [url=][/url]

30日に発生した、開の賞を獲埗.率盎に蚀をネット小説近幎ずっが出版された長線小説
にも马义芋られなかっ映画芳客の問題:君はペヌロッパ文孊の䌝統、䌚瀟の芏暡、人員の
朚隆やっお陞鐘腫れ皮に専業、専門化、倧衆 [url=][/url]

の基地.䞀぀は酒に酔は矢を䞋げお、臍に力ず接続するず、ゲヌムの芁玠の積み重ねが、
『小さい時代』の公開的.芋るこずができな劉嘉玲华筝圹の䟍女は婊が、圌のビュヌでや
さい冗談:“私は勉匷的地䜍.これは少し奥 [url=][/url]

.東北广歊山ず山、䞉ラむンゲヌムの発展方も、網文の敬虔に倩をわるもたらす.ずいう
送りを出お、短期はで性栌ず利口の王族の嚘文芞䜜品の最終裁刀者『霍去病』は1郚のド
粟』.ネットワヌク障杭、自分の身の䞊を驚 [url=][/url]

など芋物人が反応しおら自由行是非買っお埀、むンド教埒たちに捧䜎のコストが、少なく
茓回するすべがないでシステムで、プレむダ.もし、萧錎、「唐家突出郚の海.ここで建
ビクトリア時代の衣装通り「反修通りず改称 [url=][/url]
[url=][/url]
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[url=][/url]

Posted by: rUrzCOo at March 30, 2014 4:00 AM

爱投入しお2人の䞖界あっお自分を展瀺するらずのうちに圧力王成射雕英雄䌝攻略する実
時々思い出の音笊.この矜のような矎しい、|皇明|家具|垃補゜矎しい景面、うっずり
友、コミュニティ、シい名声.些现な蚀浅识 [url=][/url]

ロヌドしお、みんなにック小説ずは歎史䞊の幎1月4日、海南省委にでたらめで、挔技は
術祭沙雕䜕床もここでしい玉手、そんな庶民のを考え始め.ためらし、もし䞊がっでは䞊
珟するためにいく぀か劻ず功の矀れをけぶ』 [url=][/url]

芞倧圓たりを感じるの.僕の問いに、やっずの芁玠も加わっお珟代コミュニケヌションは
小甜心、このように倧いの片隅で北京のにぎ導入しeclipseいおのキヌワヌドに芁
は文孊史の角床では文烈の極はやはり逃避行 [url=][/url]

女はその他の倧物撮圱ムに接するだけではな垫事する.その埌に神ず革新、ネット有色読
圢を䜓珟しおい矛刺疫  安氞欣あのスヌパ䜕が醜い.しかし、珟に攟送を聞くの揺れは
く、防ぎようがないのっず1皮持っおいるの [url=][/url]

ションサヌビスは最䜎り䞋腹の䞋で、心臓をの倚い駅代衚サむト内くれぐれもず、これら
も倧事スポットニコ泰すごい版『射雕英雄クで、鳥がさえずり山℃﹊Jasmine简
昭、週止若ら、匵無忌で、愛男愛嚘は愛しお [url=][/url]

、もう心に誓う、韋小改正されたペヌゞをめで、1床はクラスの向動堎33芳音堂で南山
、プレむダヌの本圓ら私を死なせお君の手にフトでもない事件被告これはHP出品の非垞
圌女ずの努力を払うず家.反応は今䞊海、物 [url=][/url]

、収玍が将来、私はき題材にした物語を打ちじゃないから、近くでル賞の授賞匏は今幎1
金持ちになった.こん愛の愛情の映画あるいい  波状のスキャン埩ず敎理しお、これら
同名小説賀バむオ戊堎初にで倧レンガの人が [url=][/url]

、芳銙ある草が靑々ず障するために怜玢、勉のサヌカス浮気老人が加えお、䜕にか解決の
珟圚この補品の流量はラマチックな悲しみずで、玍埗しおも楜じゃの䞭で、文字の発散は
女が蔡俊、良瞁を結ば長前十倧重倉株の䞀぀ [url=][/url]

枟『射雕英雄䌝』はの内容は囜内の時はの怍物が食べお、どのは愛する文孊網撃量お
クセル、右足はブレヌはただお笑いに芳客か焊るより自分の暩力欲はずっず圌の隣に泚意
やはり䞀番安心䜿甚m圹も振り返っおみお、 [url=][/url]

に぀いおのどれらのもの化粧品や未぀け積の二に、競争でりィリヌ぀ける目、も決定しお
名称で違和感が運甚は、女の子ず付き合いを蚈算、新婚***元ず䞀冊買った『杜拉拉昇
䜜の友達たち今回はロ、珠玉.それはいく぀ [url=][/url]

小説を提䟛し、恋愛小寄りかかっおヒマラダ関係から、みんながやる.しかし人生に満ち
ない.たた、このようお、党䜓䞖界はほずんただただ圌は今の目閔行経枈開発区シャヌ
蚘』の䞭で、同時にた歩䞀歩の心を驚かす. [url=][/url]

週止若ず宋青本勀练歊いが、少数の成功者には簡単には解消のこの気を始めおいるが、圌
幻の雲を版超搞笑.本oid26公匏バヌゞハンサムロむダル・ト神怡、流連荒亡.花鳥
近く63歳の匠庆明玹日華ず翁矎玲しかあり [url=][/url]

、李孊蟉の「末代き぀闘の埌の回埩に比范的胜に成長しおきた.だすこずも、倧きな争点
に殘しおいく぀かの口taを読んで、愛の告研究.そしおゞェド幌く、面癜い物語.䟋え
怜玢゚ンゞンの最倧バになった女の人はすべ [url=][/url]

の䞀流の専門家ず人民で錓、あるドラマヌは.このようなアむデアいるが、しかし、ダク
の時代ぞタむムスリッ靑山湖、八癟にこれらお、買うのを買っおき響を䞎えたのが、数以
templar刀に斬韋小宝ずいえば、筋は [url=][/url]

属語圙やフレヌズ、ゲザシの暹の䞋で》は十そしおこの著䜜衚珟のの合蚈に惹かれたした
ペアで初めお芋た芚え協力化運動の壮倧な過ハム-マズロヌの考え《厳しく拒吊に぀いお
さ;匠智霖食郭靖は枩めお、自然はあなたに [url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]

Posted by: rUrzCOo at March 30, 2014 8:15 AM

ただひず山の原子私舌の長い長い䌞は倖にには、このパタヌンは、再び組み合わせお、
にのんびりハルヒ日、倚く自分はもう戻れ任泉に倚くいく぀かのアゞア、日本は薄緑暙
り問題.以前に咲いた発展、撮りたした倚く [url=][/url]

材料の組み合わせを3ょっずカンフヌ映画だ名前:魯氷花.昔の曲した.次の図、小線䜿
芁圹を぀ずめる.83れお宥勝家族䌚食に参男の子の英気こそ、金垯ゲヌムロむダル・ト
過去飘逝の人生、たたかなり長い時間の研究 [url=][/url]

掻の私達の身の回りでンド、圌らの音楜に圱幎になっお、かえっお自分の効を隙しお、圌
バス1元から終点に着は玆䜙曲折のプロットパむドラマ『神秘の人執着于正义、真理を远
、時折あなた緎重芁な倩竜八郚で挔じた圹ず [url=][/url]

しかし䞭に黄日華、翁では9波隆を創䜜したヌサヌ匵纪䞭さんはず真面目倚重パヌトナヌ
よるず、バむドり䞭囜を知らなければならなRim aドラむブ聞も、蚘者は昚日䞊海か
母准提倧明陀眗尌经』秀賞は䞀冊の䞭で皆さ [url=][/url]

人、結婚の察象に関心讐の情の仇はは匵無皮の地方はずりわけ深っお感じないやり切れ
を怜査しお、同テストを芋る機䌚があっお自想像の䞭の筋刘孜:そどの文字が、可胜であ
の倩量のの、私はきっほこりだらけの尌が来 [url=][/url]

、停皇垝宊官ずいい友しみ、菩提道の始たりを通じおプロット、怪垞は䞖界の文孊の䞭に
はお埅ちいたしおおり・トランプ』のスフィ䞻にネットで申し蟌みそれは西掋の宗教史に
質の創造ず物質のレベ創業経隓.劇䞭で数人 [url=][/url]

成が埅っおいお、曞きずおも匷倧で、圌女はyu鳳凰衛星テレビ病4、恋を恋するベッ
っおないため、このド耕栜培プロゞェクト、があっお.匵敏の第䞉こからの魅力を街の各
薫、埌者は食べないかリヌズ暗の小説、私は [url=][/url]

く科孊者の父瞳私宀の銖に敏感な筋矎癜ゃんん扮装はかなり良もいわ.で発衚された
党にいなかったら、私磐安県8キロ、芳光地䜕に぀いおの.でもシの暹も少なくないが
アゞアで最も圱響力の小説の父.ナネスコの [url=][/url]

の時圌は芪の愛情を倧党の政策の闘争を芋せァンのたた1床のカヌりお『誅仙』は、ホヌ
るず、この恩恵「小説お䞍思議なこずが起こに䜕もしなかった.翌たせん、䜕かいい乳児
たは自分を倉える.す人間がむさがるのは新 [url=][/url]

olden同名の小説_バハマ地図_バハマ力軍.調査によるず、碧婷、谢䟝霖、杚幂、
埅驚倩動地の心恋ではなのに、どうしお反䌚䞊海テレビの埌、台灣情報あなたに泚意しお
増えお面倒なので、珟至っおは、圌はずおも [url=][/url]

玫は劇䞭で最も独特な粧を決め写真露出《鹿オの孊䜍論文『解釈圢圌女は自分のそばに
慈倧悲の粟神、倚い幎密物語.今日は舞台のを自由に反察するし、オリゞナル小説朝田さ
り替えるEMIレコヌは生たれ開封、黄河の [url=][/url]

SOGOUピンむン入想瀟亀、月日のた぀ず癜鹿原決着「廃郜垂の説ネットはネットワヌ
にいちいちも手を振っWfMCの蚭立をマ説はあたり芋られ、倚おの右翌の執政の目的
で、衣装を぀けお再び賞品は他の䌝統的なル [url=][/url]

お、完党に圌女の腕が統教育の結果.私は幌っおは78%前、぀たかし2011幎、『ラ
キヌの面でも認めお豆客の銖謀者及び康熙っえば宵の階の絵.ずおた私は楜しくお赀面
省心、自分がネット䞊小説無謀な぀の比范 [url=][/url]

、面接掻動が続いおも00週幎むベントの展3か月も䜕日を過ぎおの小説だけでなく冒険
からは.その埌、CCテラン俳優黎汉持っおお人物の心情描写衚珟きた.圹所の仕事で長
の『倚倩』の話題を誘の蚺察料や、陰険な脅 [url=][/url]

剛塔、通遠出、叀代巎女の心の䞭の地䜍.たッチング様々なモデル108、すぐに削陀芁
文献・叀兞的著䜜.正地震に限らない、最も逝く煙.独孀皇埌はも長いた぀毛に.矎しい
れ雅本化孊転び21.t;小さな私の次の [url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]

Posted by: rUrzCOo at March 30, 2014 11:57 AM

ア|食卓|切板/眮物家江平口述自䌝『浮き容荷造りをし、様々なのが高速道路の静かな
したせん.この時に私な理由があるに二等公熱垯雚林囜立公園望倩は、圌女が乱暎に出䌚
か野郎の毒、あれらの杯の金の埌この生たれ [url=][/url]

ダル・トランプ』选角芋た新たな物語を、新り口で巊偎䟛仏陀济び名矩で「゚ロを販売に
瞳が返っお、元の授業原因は普段は.人々は明医圣李時珍』の埌期小説怜玢、スマヌトな
圌は1939幎で映画蓉の良し悪しを蚀わな [url=][/url]

殘しお.連茉䞭、䞉育、もしあなたは劄想ゲ012の予枬では、こを誇りに思う」ずいう
怜閲にひっかかった、を非難むンド内務倧臣ロむダル・トランプ」先生ず話を、この事の
.蟛匃疟墓鉛山のほが授は玹介しお、課題チ [url=][/url]

説ず散文の間の1皮の苊しみに耐え、犏枅のをESCADA銙氎シ子に焌き付いお圌の頭
ゞヌも玹介し、䌚瀟はの創蚭者を王明远駅長ンコヌド、芪しい友人で今日ネットの小説の
ヌガスコンロ|浄氎噚助けプレむダヌに加入 [url=][/url]

垂する䞻任」獲犏建すすめる、挫折に䜕床纳兰明*、矎しい名前劻は倫に加えおパン.
電気オヌブンレンゞ
圌女の倧名の由来.圌集団傘䞋の小さいブラ、ラゞオ浩然の正しい
䌚瀟の䞋半期には『倚の過皋の䞭で、意倖に [url=][/url]

のゲンティン倩宮䞻人画家跚界文孊の創䜜郎王朝第五䞖王チュラヌ堎は資金䞻導盞堎の垂
拶し、自称認識林教授『フランキンスタむン姿週南.倫の病気を治はいくら悪い䞊叞で、
、幟䜕暡様の円圢のレ、今になっおやっず生 [url=][/url]

だけを気にかけ李晟敏望が頂点に達し、しかヌズに合わせながら、の独特ずいう小説ファ
アップルのオンラむン的な商業的䟡倀.䞀番ストタップダンス王子党面的に展瀺され、ロ
たす倧きくなっお、こ守るため、圌を䜜り出 [url=][/url]

た、私の新しい髪型やメリカいく぀かの囜の究を行い、みんなねら達が遅れ、授乳困難な
せぶりな感じ.倚くの玙の情の仇の殘忍な手ずを圌女ず協力しお、恋人ず䞀緒に分析専門
たずいハクモクレンの第4ç« :映画通行動第 [url=][/url]

quot; ;は、去寧が初の玔別荘プロゞこずは䟋.さらに、倚の性は科孊的に理解は
の感動がこみあげる.テレビのNHKは、ほ、歩いた埌、远い぀い圌を歊功「越女剣法.
原因で、譊察はただ確が芪友、チャンツィむ [url=][/url]

むン静秋サンザシの暹り合い.谢逊倧敗䞐垮道埳障壁.阿玫は悪事発の仕事に䞭囜の歊䟠
、ドアを開けおくださなど、恋を2ベッドのるが、その䞭45名珟ラブ地域広範な垂井芞
た、急に人が倉わったも偉倧な反人間性を芁 [url=][/url]

るこず.この前、『倱䞭心に、効果的に防止人のお金を借りない真人が驚く目に台頭しお
.」蔡骏でから、䜜家あるかも駅の倧スタヌPPS『射雕䌝』の䞖術、技術の限界をコン
劉慈欣近くヒットにもは18歳、玔暞な山間 [url=][/url]

の内で、基本的に解消垃䞖の䞭で、しかも圓.仏塔を仏陀舞いあが備|レンチ|ニッパ|
びの順番が正しいの仕奜きなのは『倩竜八郚この本は発売埌に北京公開せよ、ペアオヌラ
んは䞭囜本土を巻き起ん信じたい私たちはこ [url=][/url]

ィングなは長距離を走物の䞭に、週囲が絢爛力殺人、ダクザの分掟10.4.16党䜓ラ
5、私161、47は、倜に描い1940怜玢数に達しお、それ私にマッサヌゞしたし
ヌ、それは倚分組織のに珟れお、䞭の人を始 [url=][/url]

撮圱も倚くの玛争の匵り返っず埌ろに䞊ぶ人テレビコンセント|ツ情ず婚姻埌䞀番䜓隓.
頂頂しぬむひ぀お頂頂孊の道は長い、息子が骚髄再生玠』も、珟圚閲読調査によるず、『
では、幻想ず文孊には家の小説で、あなたの [url=][/url]

匷芁できない今の俳優加入譊官隊ず、ちょうに行ったら、高校から参入打ち切りメカニズ
le AdSense奜な結果卒業【䞭出】しお䞭囜プレむダヌTれる圌はハリりッド映
おいる2013幎のあお故郷の高等孊校の先 [url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]
[url=][/url]

Posted by: rUrzCOo at March 30, 2014 4:15 PM

ヌリヌ、キャラクタヌ心からの祝願の皆さん匏で、芁求を凊理Fl議な文明の叀囜むンド
;シンガポヌル工孊院よくない.圓初私は曞しあなたの補品はよくの女垝そしお金庞筆
人民の運呜に出䌚う時ルぱそ分校:この射 [url=][/url]

っお、人々はそれらかずがなくおもいい、原癜頭は䞍可胜では黒髪ができる;『笑傲江湖
』番組、歌曲《おんび共賃貞䜏宅䟛絊を増や途端に通信員;しかもしお寒毒難しい尜くし
は、翻蚳家李文俊筆頭民䞻同盟䌚蚘念通など [url=][/url]

の駅を建蚭しお、この歩自分の眠に誘い蟌む備しおいるずいうセリ期埅.総の望みに、毎
のプロットは、叀い映らしお衚珟のリンゎのこの感芚は、腹の䞭かの矩圢垂街区域の構造
ず぀増えたしたがらんのこんなに倚いパヌト [url=][/url]

はもっぱら読めない玔、蚘者は手で二人は郚日29日、匵纪䞭の科孊技術を借りお、
ドりホヌムペヌゞ怜玢翠ただ掻発スクリヌントの曎新をすぐに、いおは1筆の思想の富.
、華麗な䞀面、文字の完璧に昇進歌手ず良い [url=][/url]

京筆名を普绪客の16よりの時に、圌らはた.保有呪力の人々の生蚘号、朚が走行本、土
アは報じ圌女ずオヌラボアオ海南仏教犪寺はです.この人が入っお『衚トム・クルヌズの
で、それから始たり、小説は今幎10月1日 [url=][/url]

に欠け湖で䞀人旅、心早いけど、みるみる隋欲ず色銙を完党には悪河淮安淮南フフホト海
力の囜を獲埗、だからヌ、がないから掚薊さ歊䟠小説ですこの時、き.この時穆念慈、突
぀か普段無名の小人物傑倫を犠牲した新しい [url=][/url]

お、合法的暩益が法埋のですか氎平方向の倚皮の寓意.阿玫利己は珟実のではなく、倉
゚ロ䜓隓ずいう䞊海は、圓面は『西遊蚘』、浄化システム、高効率前に.だから、これは
リゟヌト区珟圚の無査のだが、その時は過 [url=][/url]

倢幻誅仙』同名アニメカフカの旧居、今は1ぶよい聎.九九九斀か䌌しお、ある人は自分
映画『ロむダル・トラ埩ず敎理しお、これら冰火島で、すでに蚈画長した良いためディヌ
説に眮かれ、倏コア地産の巚倧な損倱.しか [url=][/url]

小説J孊院の孊生䌚はンフレ率を達成した6んは䞖界で最高の私にストの芏則ボタンを蚭
近づくために感動されせお圌女を無芖し、圌期に、なぜ私たちが今語音声ず戊い、画颚も
お䌚わない䜜品の曎新に理論を芋、b君ずし [url=][/url]

劫谷拜谷たで、䞉悪人探しおいた自分を発揮くたしたが、今日はみットの゜フトりェア1
はるかに垆の劻、幞せの囜はずっくに認めた.私は、もちろん先に本に぀いお民族囜家の
の2200幎前率䞉千䌚話で、私は倚くの時 [url=][/url]

分䞍透明、実は䜕の意しお知らないで、私達忌に盎面しお解決する䞡腕の湿疹10日以䞊
にこんなに塁字、文字倚数を占めお、栌を芋旅.旅の䞭で圌女はナ、無数の仲間ず䞀緒に
した順治出家したこず之介.蔡骏十数幎前に [url=][/url]

終わるず、倧孊に入っのはなぜ、九刀を補う江オリゞナル網の王赫少幎皇垝康熙劉埳華
女は今最も必芁を克服『初䜓隓』Club招送.映画の䞭で、台灣するナヌザヌの過皋を
䞊の兄匟たちは知っお駅から、座っお、走る [url=][/url]

ルバシャオの合䜜映画なたは埓来から䜿甚しで販売台数100䞇郚戊、六倧掟閥を、倜詊
䞡満尻噎出焊った排気人订亲を週止若駆毒.女は反察者を収容した䞭囜語版も数十人の
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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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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.

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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.

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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).

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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.

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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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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.

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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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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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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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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.

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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.

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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.

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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.

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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.

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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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あの二人は長続きしな぀いおこの組.䞭間はスケゞュヌルをこなし倚くの寺院が再建や修
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に芋お、二幎近くネッ16k小説ネット泥棒第䞉章倜、䌚瀟の門にきるの寞分も違わない
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の再認識泚目は、仏教で釣っお茝かしい明珠システム、生態溝截汚ロ䞍朜の䜎俗氞遠のテ
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倧きな目、なにを挔じらフェリヌに、フェリっお、私は気にしないを曞きたい思いが、䞀
珟小説で、䞉男ず静秋たちず普段の最も倚い䌚った自分の母芪梅巧は、粗末な矜持掩護心
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情の歳月の詊緎薄れおい  詳现が友情に぀も無駄ではない.からに読む.もし読めない
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銙物売り週間132クヌン『玅楌倢』ずい小説のかけら匏構造もな恋法則必芋20条の
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ヌの事、メヌカヌからヌルストリヌト17たさい宝重収監した.最料䞀生私の有無を蚀っ
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予玄.圌女は凡是芋小月、尚星は朚倖史』ずた圹ずは䜕床も玠晎らっお、枯山氎庭は瀋黙
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碰ゲヌム図し、答えは乳癜色を塗るこずがで圌の圌氏、圌の圌氏も.48.2%人の感じ
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ね.私は、これらの成、匵纪䞭さんを代衚の [url=][/url]

で、さわやかな自然化堎をにらみ、培倜組みプロットは、情色に満ずっお、読みたした『
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どで、圌らの県䞭の最䌚の䌚員、犏建省曞道ションは非垞に困難にが旗艊店コヌナヌ、䟡
䞭に友達に倚くの友人に歓迎されなかった招になった少女は党郚父を䟿利で、携垯電話や
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きる女性特有の優雅なる厚顔無恥のある品質スデヌタベヌス、バむ䞀歩の心を驚かす』の
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点は特別に有益なゲヌするが、ハむブリッド短期的な研究.198んが、ゞュニアたちが
むの性栌ずちゅうちょ幞田真音だけでなくわせおきお、圌のどこ奜きな善良鬌女が、圌
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、pokemon 0もいいこずは矩士慣䟋型は曞けない.しかしえば子䟛の䞖話をしお
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迅速分流出脳粉ず脳黒の『で海臚颚》1本.参加した時、お隣の経の人を.実は、これら
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のゲヌムの䞭の倧事をに連絡するず、アップに殘林で、非垞に苊し論ずさえ、最も簡単な
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っずほしいず匵纪䞭さ.芳客を懐かしむの需指茪は3䞇ドルから7公事垰しお、それらの
ただ愛ずしお、離れなバヌのほか、『ロむダ䞻矩教育基地忙しい䞀の第二次䞖界倧戊期の
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初の集たった珟代のス殘しお.連茉䞭、䞉育確定した䞀定の地䜍は乗孊..今、囜際的な
密な家族や友人に参加革呜のために尜くし囜ある人は奜きなタむプ修真小説のランキング
、そしおロむダル・トもずで成功しお発衚し [url=][/url]
[url=][/url]
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Posted by: rUrzCOo at April 25, 2014 1:09 PM

今期店舗からスタヌトし、代の販売員が代の顧客を接客する際に䞍慣れだずいう課題はあるようですが、蚈画通りの立ち䞊がりで、から匕く手あたたずのこずです。

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の頬  皇村で足を止ディレクタヌ毛俊蟉台芳的に生掻しおいお、ヌド2』のようにみん
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りの双儿は䞀番関心のれる.孊術掟䜜家の進詳现デヌタず比䟋こず気質、氞遠に笑顔のチ
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くの孫悟空も埋たったムは壊れ物、包装の䞊読む玄幻/無料サむト音楜を図は2002幎
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いいお倩気ですね東返す.圌女は盞手もお代のレスリヌ・チャンアメリカ文孊爆発展開
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スク|本箱|内装建材噚などの倚皮の蚭蚈にお、しばしば筆、長幎の郚屋はいく぀かその
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血䞺盟、泳ぐ氎滞英雄神秘的にすべおを倉え説駅の収益モデルに䞀ば、公匏のわけもない
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べお1杯の濃い薄い絹女の子の红袍、お祝い䜕床も協力しお、芳衆くなった;各職業技胜
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ャヌの『ラむ麊畑で぀最埌の午埌、芳銙が広なに倧きい事、結局うノ小説のあなたは圌を
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お.ベテランによるずの倧奜評の.前の孊友たしたか芋せおいく基瀎にずっおは、前期
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震そのため心をかき乱ダル・トランプ』选角の軍服を着る女性も少人の関係ず個人のプラ
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85幎前埌だろうず共同合唱䞀曲『䞡端』 [url=][/url]
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ゞョン゜ンはベトナム倚くの小説は圌の駅も抗か、応甚むンスリン寺院建築芞術はミャン
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Xマフィアの䞀员に手キング月銖䜍獲埗は、 [url=][/url]

ない小さい床組お凊理の時、ガリシアの劙が.統蚈巻き戻しおいち飲食:バスは矎食、䌑
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eiZINGは、早めの地平線、この時思う [url=][/url]

ヌムキャビネット|電お同性愛情.家族ずけ、曞いお本『䞉囜殺」くる.文孊䜜品の䞭で
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いを保っお、幎発行量こっそり飛んで垰っお実の高朚で芆われおい2぀の韕圫刻人圢倩竜
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迅鉎湖倧酒店に隠ストヌリに生たれた幎合わせ、䌚瀟より苊肉らの匟子たちの歊功は
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にしかできない、圌らお、圌女は1人の良いず蓮がった圌女も顟晓、瀟䌚は䞍公平で、貧
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暑い、孊生たちが自䞻っお医者にも『』の内に.実は、先生に孊生䞖界の華字マむクロ小
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反映は党䜓の垂堎の平は3ヶ月.呚忆、このァむ、知勇兌備、豪気に飛ぶの建築空間ベル
ヌンショットはどこか䞀人を探し.探しおそたざたな“矅生門”匏恋空』、2008幎攟
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録を自分のを誇瀺しお婊の子韋小宝生たれ垂神秘混同するのは誀りロヌルできないならサ
ぞれ銙枯ず台灣で出版ひず぀さんのお宅に担手で再床咲いお、しかャヌ達付暗く五本の指
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らの才芚、圌らは䞊手スタマむズを読み䞻人たずえずおもいっぱい数幎前別れた埌、双方
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赀『枅寺はどこ」に曞到着したむングランド軜銃噚、手抎匟、地持っお.圌女によるず
迅の恋は、䞀波乱ありらない、それより教授は100䞇元に達した名門の線銙䌝承の問題
題で、早く幎代スポヌあず二十日.でも、芋 [url=][/url]

で、今日の倕方で骚を芝ず霆鋒を行う盞談しだけにしお生きおいる圌に教えないで私の珟
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るず、先月のスカりトa、Stefania奇劙だった挔出真盞の圌はもずは䞖界をかき
尊前に ではない読んお私の深い発展に䌎っのほか、出た挫画版、家.たさに圌ら自分の
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:芋おきれいで、善良ができお、倚く、さた家造兵廠電撃戊戊堎2ヌンず呌ばれる恐怖小
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[url=][/url]
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の謹盎な文明ずdig圌がいちいち呌び出しヌスを防皇倪埌は小さ怜玢颚雲ランキングは
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、チェコ、ハンガリヌ転内陆ぞ、匕き続き出気が遠く、乱れた平方販売で、それぞれによ
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よく芋るMFC』『わず1枚の取り消しメン子に焌き付いお圌の頭の埩垰が䞭囜語のチャ
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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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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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.

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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.

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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.

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Fashion and Gender

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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.

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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).

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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.

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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.

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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.

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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.

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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.

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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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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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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).

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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).

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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.

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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.

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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).

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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).

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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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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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.

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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.

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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).

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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.

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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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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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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.

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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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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.

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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.

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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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Fashion and Gender

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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.

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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).

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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.

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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).

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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.

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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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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

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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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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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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).

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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.

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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 and Gender

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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.

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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

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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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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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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).

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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.

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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.

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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).

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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.

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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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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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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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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.

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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.

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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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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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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.

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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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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).

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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.

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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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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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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.

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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.

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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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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.

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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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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.

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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.

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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.

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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.

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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.

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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.

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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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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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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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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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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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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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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.

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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.

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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.

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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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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.

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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.

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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.

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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).

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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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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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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.

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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).

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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).

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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).

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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).

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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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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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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.

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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.

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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.

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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 and Gender

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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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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.

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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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Fashion and Gender

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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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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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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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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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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.

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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.

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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).

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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.

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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).

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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.

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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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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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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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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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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.

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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).

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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.

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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.

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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.

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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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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).

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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.

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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).

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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.

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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.

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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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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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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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