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They could not figure out how to sell her in spite of her ready-made biopic childhooda narrative riddled with disadvantage, abuse and sexual violence that ends in winning Olympic gold. While gymnasts aremarketed as Americas Sweethearts to the U.S. public for the Olympics, women boxers remain inuneasy territory. Shields, who was born and raised in Flint, Michigan, experienced a turbulent childhood of sexual and physical abuse. Her background, decidedly more rough than that of other womenathletes, left sponsors befuddled as how to market her. Coupled with her interest in being a fighter, Shields was asked to tone down her excitement in throwing jabs and punches in the ring. The AtlanticsKate Jenkins agrees :Women boxers bodies are also at odds with conventional ideals of femininity, but in their case, being perceived as unfeminine can actually cost them precious opportunities to compete  When fighters are women, this often includes an extraordinary pressure to maintain both powerful musculature and a sexy, crowd-pleasing image, since most promoters figure sex appeal is the only way to market a female boxer. The misogyny of the boxing industry is deeply rooted in tradition. For evidence, look no further than Washington, D.C.s annual Fight Night Benefit, which this year raised nearly $5 million for the nonprofit Fight for Children. It was a swanky, sloppy affair featuring professional boxing matches along with cigars, steak, and booze. Most of the patrons were men, while the service was primarily provided by women, she continues. Topless women in body paint adorned pedestals, uniformed cheerleaders flirted, and cocktail waitresses perched on mens laps. The event is extremely successful, year after year, for reasons that clearly go beyond charitable impulses. While Shields is the most prominent womanboxer since the retirement of Laila Ali, womens boxing has faced resistance since its beginning.
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Like everything about this remarkable show, the carpets evoked less the landscape of the Shetlands than a memory of it, a memory shaped by more than one individual. Burton emphasized this fact backstage, crediting ขาย ชุด บอล her London design team (whom she took to the islands) and various Italian factories, not to mention Shetland yarn spinners. Delicate Shetland lace, used for creamy shawls in the Victorian era, led to an opening series of long dresses topped with black leather harnesses or jackets and worn with studded boots. Look closely: On some dresses are tiny symbols, like the Tree of Life, and flowers picked out in thread in native colors. Meanwhile, the classic Fair Isle knit was completely overhauled, made bolder in pattern and stitched in patches, or spliced into bands for ribbed lace dresses. View Slideshow Photo: Imaxtree Team effort or not, this collection encapsulates everything that Burton stands for as an independent, sensitive designer whose clothes have become more wearable and forward-thinking. In a season of long, loose cotton dresses, no one has thought to send out a sweet empire style in a dainty floral print a style that would do the Bennet sisters proud and also look amazing on a London or New York street next summer. The blue-thistle pattern of look No. 17 comes from a vintage handkerchief that Burton has; the hand-painted and embroidered flowers on leather jackets are based on old fabrics she has collected.
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