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车展掠影

2011年4月26日

今年,不用去车展为工作忙碌。那,就相携去闲逛一圈吧。

劳斯莱斯几乎等同于顶级豪车的代称。时代的洪流让人如此措手不及,中国人曾以为遥不可及的顶级豪车,如今在上海车展开幕数日就被“迎娶”,娇贵之“驱”立时谢绝“触摸”。rr

以下这张照片我取名《静》。在车展场馆之间的简易用餐区外,这位衣着考究、发型精致、面容如雕塑的男模正安静的读书,戴着耳机不知是否在听轻音乐。也许是站久了很累,他把鞋脱了,露出微微的青筋。这里人来人往,而他如雕塑般沉静。

silence

秋水 生活在此处

  1. 2014年3月20日14:50 | #3

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  2. 2014年3月20日15:08 | #4

    Happy Home » 车展掠影
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  3. 2014年3月20日17:31 | #5

    8 GG Versammlungsfreiheit

  4. 2014年4月9日05:22 | #7

    Funny things seem to always happen to take away the focus from the Indiana Pacers. After the first week of the season, the numbers that Paul George and Lance Stephenson put up should have made them absolute shoe ins to win the Eastern Conference Player of the Week Award. What happens? The Philadelphia 76ers defeat the Miami Heat, the Washington Wizards, and the Chicago Bulls, and rookie Michael Carter Williams ends up sneaking away with the award.

  5. 2014年4月9日15:35 | #8

    人は誰もが、「ここがキレイだなと思う部分」を

  6. 2014年4月9日21:26 | #11

    只今デザインコースは、ワンピースとショートパンツ作製しております!

  7. 2014年4月12日06:41 | #17
  8. 2014年4月12日06:43 | #18
  9. 2014年4月12日06:54 | #19
  10. 2014年4月12日07:48 | #20

    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.

  11. 2014年4月12日08:27 | #21

    「何年も通ってお願いしたのに、結局ダメだったのが『東京都』とか『日本貿易振興機構(ジェトロ)』」

  12. 2014年4月15日13:59 | #22

    How do the Pacers respond? They keep on winning of course! Friday night the Pacers tied a franchise record best 6 0 start, dropping the Toronto Raptors by the final of 91 84 at Bankers Life Fieldhouse. Perhaps would they get everyone focus and attention at that point? Well, perhaps they would if the National Football League wasn so popular that one irrelevant player on an irrelevant team bullied another irrelevant player thus making that irrelevant player leave the irrelevant team, and this irrelevancy is the biggest topic of the Monday Friday news cycle.

  13. 2014年4月16日06:05 | #24

    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.

  14. 2014年4月16日06:06 | #25

    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.

  15. 2014年4月16日06:07 | #26

    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.

  16. 2014年4月16日06:08 | #27

    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.

  17. 2014年4月16日06:09 | #28

    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).

  18. 2014年4月16日06:10 | #29

    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).

  19. 2014年4月16日06:10 | #30

    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.

  20. 2014年4月16日06:12 | #31

    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.

  21. 2014年4月16日06:13 | #32

    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.

  22. 2014年4月16日06:14 | #33

    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.

  23. 2014年4月16日06:16 | #34

    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.

  24. 2014年4月16日08:46 | #36

    いつも美人整理術ブログを最後までお読み頂きありがとうございます。

  25. 2014年4月16日13:14 | #37
  26. 2014年4月16日13:17 | #38

    Fashion and Gender

  27. 2014年4月16日13:28 | #39

    こんばんは赤いいちご柄もみちゃんに似合ってるってありがとうございます。嬉しいですどうやら彼女は赤が毛の色にあうみたいですよ

  28. 2014年4月16日13:32 | #40

    初めて会ったカメラマンさんに、こう言われたことがある。才能があるかどうかはわからないけれど、いつも苦しいのはその通りだった。だから拡散しているパワーを一カ所に封じ込める手段が必要だった。それが私のタトゥーの意味。

  29. 2014年4月16日13:44 | #41

    The same goes for each and every item in our Louie Vuitton lines from our Louis Vuitton Bags to our Fendi handbags. All of our fake Louis Vuitton Outlet are made to look and feel just like the originals. No one will be able to tell you’re carrying one of our fake Louis Vuitton Sale, because our imitation Louis Vuitton Online Saleare identical to the real thing. Louis Vuitton Monogram Canvas Cruiser Bag 45 Replica M41138 On Sale Cheap Louis Vuitton Wallets,Handbags,Bags,Purses Shop Outlet Louis Vuitton Monogram Canvas Sac Chasse Replica M41140 On Sale Cheap Louis Vuitton Wallets,Handbags,Bags,Purses Shop Outlet Louis Vuitton Monogram Canvas Eole 50 Replica M23204 On Sale Cheap Louis Vuitton Wallets,Handbags,Bags,Purses Shop Outlet Louis Vuitton Speedy 30 Replica Luxury Replica Louis Vuitton Bags wallet Online Sale Louis Vuitton Stephen Sprouse Nerverfull MM Replica M48613 On Sale Cheap Louis Vuitton Wallets,Handbags,Bags,Purses Shop Outlet Louis Vuitton Damier Canvas Eva Clutch Replica N55213 On Sale Cheap Louis Vuitton Wallets,Handbags,Bags,Purses Shop Outlet Louis Vuitton Monogram Vernis Houston Replica M91122 YELLOW On Sale Cheap Louis Vuitton Wallets,Handbags,Bags,Purses Shop Outlet Louis Vuitton Damier Azur Canvas Key.
    Celine Paris Bag

  30. 2014年4月16日18:04 | #44

    The Swiss company will lose the patent on its precious Nespresso coffee capsules in 2012. By then, it hopes to have developed such a cult for its coffee and boutiques that the patent expiry will make little difference to its continued success as a luxury brand. “What else?” as Mr Clooney would say.and a Merc would be nice too Neither of us are rich or poor, just a hardworking couple that shares a mutual goal in life. It’s an exciting time for both of us because we’re embarking on a new stage in our life. We’re making a commitment to be together till death do us part. And we plan to share that life doing the things that make both of us happy. So it disturbs me that there are people who don’t put themselves out there for love, but money. Even sadder is that they pretend to be someone that they are not to achieve it. How long can you live a lie? How long can you be a slave to money? Will it soothe your soul when you are on your death bed? Or will you die wishing you had chased true love. Don’t get me wrong, I love my designer labels and overseas holidays as much as the next Louis Vuitton shopper.
    Herve Leger Dresses

  31. 2014年4月22日00:18 | #47

    世のお父さんの中には、笑うに笑えない人もいるだろう。そこで反面教師として鳩山ファッションのポイントを具体的に把握しておこう。ファッションデザイナーでスタイリストの伊藤浩史氏によると、大きく()原色系の色づかい()シャツやスーツのサイズ()パンツの太さ()シャツインの点がという「風水的な意味合いがあるのかもしれませんが、日常のネクタイや黄色いかりゆしファッションなどは、いずれも完全に目立ちたがり屋の女性目線です。ポップでカラフルなデザインは、派手すぎてピント外れのカジュアル感になることが多く、一般男性は避けるほうが無難でしょう」

  32. 2014年4月28日23:17 | #49

    生地を練ってしまったのか、手にベトついてたのでヤバイんかなと覚悟しましたが、私でもあんなふうに作れるなんて(ິ⌑ີ)

  33. 2014年4月28日23:29 | #50

    九十二年には本格的なラップグループソテジ・ワ・アイドルが登場し、ラップを大衆音楽として認知させた。彼らはファッションの大胆さ、ルックスの良さと踊り、作曲のセンスと全てが上手く合致した。稀な存在として世界的に評価が高いこうして韓国の音楽の歴史を見ていくと現在、韓国の音楽は実に様々なジャンルが存在していることが分かる。新しい音楽にはとても柔軟で敏速に反応する様は実に素晴らしい。現在アジアのポップミュージックが注目され、香港や中国の音楽が面白いと言われている現在、韓国も十分それに劣らない歴史と実力があるのではないかと思っている。実際、現在の韓国のポップスを何か聴いてみることによって、それはすぐに証明されるはずである。「好きなことだけをする」撮り続けて50年

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