與其用法蘭克福學派清教徒的道德觀點來批評大來消費文化，倒不如幸也它放在社會文化的脈絡中來仔細分析之。本文犯台灣的婚紗照消費視為一種社會實踐的過程，顯示台灣的女性消費者在結構的因素之下，不能免俗的大都進入主昏紗照消費的殿堂。無疑的，台灣的婚紗照的消費不是憑空而來的，它與台灣的幸土會文化是一脈相成的。婚紗照消費的文化延續了傳統女性「被看j的本質和女性被「以貌取人」的待遇。但是女性也並非完全被解構所決定，因為她們從婚紗照的社會實踐中真實的體驗世俗棵準的「美貌J轉變，因此也能夠再度除美貌的迷忍，而對自己的平凡泰然處之。本文以深度訪談女性消費者的方式，試毒手為台灣婚紗照消費的文化提俱具體的經驗分析。本文的結論是台灣的女性消費者挪用才的昏紗煦的機會體驗千面女郎的造型，尤其是能夠穿上夢寐以求的「漂亮」禮服，裝扮自己的美貌;一方面滿足當最佳女主角的愉悅，一方面也揮霍了她們一生當中少有的機會被奉承，不論是被服務業者或是她們的丈夫例。雖然那是短暫的，但是「曾經擁有J似乎還是教過未曾擁有的遺憾。

This paper regards that the consumption practice of the wedding photography in contemporary Taiwan is a social practice_ Although consumers are apt to be decided by the structure， they also can appropriate consumption for their own interests_ Most Taiwanese women inevitably take the wedding photographs before the wedding ceremony， however， they also appropriate the chance of taking the wedding photographs to tryon beautiful dresses to experience the transformation of socially constructed beauty_ At the same time， they deconstruct the myth of beauty and realize that the so-called ‘beauty'isfabricated_ Furthermore， female consumers also experience pleasures in the course of taking the wedding photographs， for instance， gratifying women's vanity， experiencing the-queen-for-a-day， visualization of intimacy_ Those experiences are transient indeed， however， it is worthwhile of having been_ Nevertheless， the wedding photographs can be served as narcissistic use for female consumers all the time.