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A Helpful A-to-z On Trouble-free Evening Dress Products

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Body-camera footage played in court on Thursday showed police planting drugs on an African-American man when they detained him after a vehicle collision in April, said Steve Levine, the man’s attorney. The man, Ronald Shields, 52, was arrested and charged with possession of cocaine, illegally having a gun in his car and a hit-and-run vehicle collision, Levine said. Local television station CBS 2 first reported the attorney’s allegation of drug planting and broadcast the footage. In body-camera video from one officer, which was shown on CBS 2, the officer appeared to pick up a small bag of white powder from the street and tuck it into the suspect’s wallet. The same officer could also be seen and heard approaching other officers to tell them cocaine was found in the wallet. “I still don’t understand why he did it, other than maybe he just wanted to brag about it and move his career along at my client’s expense,” Levine said by phone. The police report for the arrest said the cocaine was found in the suspect’s front pocket, not the wallet, according to CBS 2, which showed the document. Levine could not provide the full name of the officer who he said was caught on video putting the bag of white powder in the suspect’s wallet. The attorney added he believes multiple officers were complicit. The Los Angeles Police Protective League, a labor union for officers, disputed Levine’s allegations. “A criminal defense attorney’s selective use of body worn camera footage does not tell the entire story,” it said.

It takes a garment worker 18 months to earn what a fashion brand CEO makes on their lunch break. It is your choice. 

Orthodox Jews follow the laws of tzniut (literally “modesty” in Hebrew), according to which the body of a woman — and her hair, too, if she’s married — should be substantively covered; observant Muslim women often wear a version of the hijab and loose-fitting, figure-obscuring clothing in public settings; and women in traditional Christian communities, from Amish to Mennonite, wear long dresses and, sometimes, some form of head covering. But whether one believes it’s a marker of outdated patriarchal coercion or a choice to be made by the devout woman herself, what seems clear is that this kind of dressing has until recently been seen as miles away from what a modern secular woman would want to wear. This contradiction might be best embodied in the story of the lifestyle magazine Kinfolk — a publication that led the charge in advancing the kind of woodsy-hipster design-and-fashion aesthetic that has grown popular in America’s most liberal enclaves, from Silver Lake to Fort Greene, but that also has its roots in the Mormon upbringing of its founders, who established it in 2011 while attending Brigham Young University-Hawaii. The humble, homespun spirit usually associated with retiring, self-enclosed communities of believers has been imported, not unlike the covered-up dressing trend, to an arena that feels largely alien to it, but that embraces its tenets — the handcrafted, the natural, the rustic — at least inasmuch as they can be marketed as a kind of soothing artisanal salve to the alienations of late-capitalist life. Demure fashion circa 2017 — with secular and sister-wife undertones — from Céline, Rachel Comey, the Row, Mary-Kate and Ashley Olsen, Creatures of Comfort, Vaquera and Vetements. Credit From left: Don Ashby/Firstview; Gus Powell/courtesy of Rachel Comey; Courtesy of the Row; Neil Rasmus/BFA/Rex/Shutterstock; Creatures of Comfort Sequoia Dress in Army Weathercloth (2017); Courtesy of Vaquera, photo by Michael Hauptman; Courtesy of Vetements/Demna Gvasalia SPEAKING TO some nonreligious women who tend to dress modestly, however, goes a way toward clarifying the style’s utility and function, as well as some of its inherent ambiguities. Thirty-two-year-old Hannah Hoffman , who runs her own eponymous gallery in Los Angeles, says she prefers figure-enshrouding outfits, mostly from Céline , to any other look. This is a matter of being both mobile and versatile — with her low heels and wide-cut pants, Hoffman told me, she can always jump up to grab an artwork or walk clients through her space — but the roots of her choices go deeper. “Everyone who’s involved on the commercial side of the art world is transacting on desire, for an object but also for an experience,” she said. “So you have to walk a very particular line in order to not dilute it, or misrepresent it, so people won’t get confused about what you’re selling them.” As a young woman helming her own business, this is a line that Hoffman feels she has to be careful not to cross, and she told me that rather than a more conventionally feminine aura, she prefers to project a “rigor and intellectual thoughtfulness” with her clothing choices.

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