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  3. The Luxury Consumes One feature of newfound wealth in the developing world has been the embrace of Western luxury labels. Bu

The Luxury Consumes One feature of newfound wealth in the developing world has been the embrace of Western luxury labels. Bu

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问题                         The Luxury Consumes
    One feature of newfound wealth in the developing world has been the embrace of Western luxury labels. But since the global economy fell apart, the rich classes have cooled their spending on Chanel handbags and Gucci shoes. That doesn’t mean they’ve given up luxury fashion altogether. They are turning to smaller, local designers who are using the market depression to develep homemade luxury brands and compete with Armani by providing high-quality luxury products at a fraction of the price.
    In India, the crisis has translated into an unexpected opportunity for Manish Arora and Rajesh Pratap Singh, two of the country’s most talented designers. Both translate aspects of Indian culture and taste into unique contemporary collections, combining Indian color sense and decoration with strict Western tailoring. Their pieces have global appeal but also speak specitically to Indian customers. For as little as $350, Indian shoppers can purchase a dress at either designer’s main store in Mumbai, indulging their inner pursuit of fashion without feeling guilty. "Indian designers have been sensitive to market conditions and have adjusted both their product and prices, allowing customers to have a sense of getting a good bargain even at the top end." Says luxury retail consultant Sabina Chopra.
    These markets all share certain traits: cheap, highly skilled craft labor; interest in abundant color and ornament; and a new class of millionaires still discovering the pleasures of distince cosumption. Their consumers are dilighted to buy a statement piece by one of their own designers for a third of the price of a comparable Western creation. It goes beyond savings; there’s an element of pride at work, too. No longer content to simply contribute cheap labor for Western articles, they’re developing luxury in their own image. This sense of power is the start of a shift that promises to transform the luxury business into a truly globalized (全球化的) marketplace. Today, Western brands are learning to exist together with local brands in foreign markets. Tomorrow, they’re likely to face serious competition from these upstarts(后起之秀) on their home range of London, Milan, Paris or New York.
What do the two designers share in their designs?
选项 A、Combining India culture and styles with western techniques.
B、Speaking a lot for the Indians in the world stage.
C、Selling the products at a high price without feeling guilty.
D、Collecting Indian culture and taste into a book.
答案A
解析 事实细节题。由题干中two designers share定位到第二段第二句可知，这两位设计师都把印度的文化和感觉融入到西方的缝纫技巧当中了。故[A]“把印度文化和风格与西方缝纫技巧结合在一起”与文意相符。[B]“在世界舞台上为印度说了些好话”，本段第三句是说，他们仍然为国内人民服务，故排除；[C]“以高价卖出产品而毫无内疚感”，本段第四句是说有些人会放纵自己的购买欲望而毫无内疚可言，与原文不符，故排除;[D]“把印度文化和感觉转变成了特殊书籍”，显然不符合文意，故排除。
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