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  3. In the 2006 film version of The Devil Wears Prada, Miranda Priestly, played by Meryl Streep, scolds her unattractive assistant f

In the 2006 film version of The Devil Wears Prada, Miranda Priestly, played by Meryl Streep, scolds her unattractive assistant f

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问题    In the 2006 film version of The Devil Wears Prada, Miranda Priestly, played by Meryl Streep, scolds her unattractive assistant for imagining that high fashion doesn’t affect her. Priestly explains how the deep blue color of the assistant’s sweater descended over the years from fashion shows to department stores and to the bargain bin in which the poor girl doubtless found her garment. This top-down conception of the fashion business couldn’t be more out of date or at odds with the feverish world described in Overdressed, Elizabeth Cline’s three-year indictment of "fast fashion." In the last decade or so, advances in technology have allowed mass-market labels such as Zara, H&M, and Uniqlo to react to trends more quickly and anticipate demand more precisely. Quicker turnarounds mean less wasted inventory, more frequent releases, and more profit. These labels encourage style-conscious consumers to see clothes as disposable — meant to last only a wash or two, although they don’t advertise that — and to renew their wardrobe every few weeks. By offering on-trend items at dirt-cheap prices, Cline argues, these brands have hijacked fashion cycles, shaking an industry long accustomed to a seasonal pace.
   The victims of this revolution, of course, are not limited to designers. For H&M to offer a $5.95 knit miniskirt in all its 2,300-plus stores around the world, it must rely on low-wage overseas labor, order in volumes that strain natural resources, and use massive amounts of harmful chemicals.
   Overdressed is the fashion world’s answer to consumer-activist bestsellers like Michael Pollan’s The Omnivore’s Dilemma. "Mass-produced clothing, like fast food, fills a hunger and need, yet is non-durable and wasteful," Cline argues. Americans, she finds, buy roughly 20 billion garments a year — about 64 items per person — and no matter how much they give away, this excess leads to waste.
   Towards the end of Overdressed, Cline introduces her ideal, a Brooklyn woman named Sarah Kate Beaumont, who since 2008 has made all of her own clothes — and beautifully. But as Cline is the first to note, it took Beaumont decades to perfect her craft; her example can’t be knocked off.
   Though several fast-fashion companies have made efforts to curb their impact on labor and the environment — including H&M, with its green Conscious Collection line — Cline believes lasting change can only be effected by the customer. She exhibits the idealism common to many advocates of sustainability, be it in food or in energy. Vanity is a constant; people will only start shopping more sustainably when they can’t afford not to.
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答案 在2006年电影版《时尚女魔头》里，由梅丽尔-斯特里普所饰演的米兰达-普雷斯丽责备她那毫无魅力的助理，因为助理觉得高端时尚丝毫没有对她产生影响。普雷斯丽解释了助理身上穿的那件深蓝色毛衣是如何逐年过时的：从高级时装秀场到百货店，最后沦落到特价区。毫无疑问，她并不富有的助手就是从特价区淘来这件衣服的。 时装业这种从高端到低端演变的观点非常老套，完全不同于《过度着装》一书所描述的狂热世界，这本书是伊丽莎白-克莱恩用三年时间完成的对“快时尚”的控诉。在过去约十年时间里，技术的进步使得Zara、H＆M和优衣库这类大众品牌能更迅速地对潮流趋势做出反应，并且更精确地预测需求。更快的流转意味着更少的积压库存、更频繁的新品发布和更高的利润。这些品牌鼓励注重时尚的消费者把衣服视为穿完即丢的商品——最多只洗一两次。尽管他们没有公开这样宣传——而且鼓励消费者每隔几周就更新衣柜。克莱恩认为，这些品牌通过低价售卖时尚商品“绑架了”潮流周期，动摇了这个行业长期以来习以为常的季节性运转节奏。 当然，这次变革的牺牲者不仅仅是设计师。以H＆M来说，它想要在遍及全球的2300多家店铺里出售一款5．95美元的针织迷你裙，就必须依赖廉价的海外劳动力、严重消耗自然资源的大批量订购以及使用大量有害的化学物品。 对于像迈克尔-波伦所写的《杂食者的困境》这类支持消费者权益的畅销书，《过度着装》代表时尚界做了回应。克莱恩说：“大批量生产的衣物就像快餐一样，可以充饥和应付需求，但不耐用且浪费。”她发现美国人每年大概要购买200亿件衣服——每人大约64件——无论他们把多少衣服拿去送人，这种过度购物会导致浪费。 在《过度着装》一书的结尾，克莱恩介绍了一个理想的例子，布鲁克林一个名叫萨拉-凯特-博蒙特的女人，从2008年起，她所有的衣服都是自己做的，而且做得很漂亮。但正如克莱恩首先注意到的那样，博蒙特花了几十年才让工艺无懈可击；她的例子是不可能快速达成的。 尽管几家快时尚公司已努力控制他们对工人和环境的影响——包括H&M推出了“环保自觉行动”系列——克莱恩相信只有消费者才能实现持久的改变。她展示出来的理想主义观与许多食品业和能源业的可持续发展支持者一样。虚荣心是一种常态，人们只有在负担不起过度消费时，才会开始以可持续的方式购物。
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