評論
打印
In the 2006 film version of The Devil Wears Prada, Miranda Priestly, played by Meryl Streep,
在2006年上映的《穿普拉達(dá)的女王》中，由Meryl Streep出演的Miranda Priestly
scolds her unattractive assistant for imagining that high fashion doesn't affect her.
臭罵她那個毫無魅力的助手，因為她居然認(rèn)為高級時尚影響不到她。
Priestly explains how the deep blue color of the assistant's sweater
Priestly解釋道，這個助理的外套竟然是深藍(lán)色的，
descended over the years from fashion shows to department stores and to the bargain bin in which the poor girl doubtless found her garment.
這個款式從時裝秀場淪落到百貨商場再走上打折貨攤，毫無疑問，這蠢丫頭在那里淘到了那件衣服。
This top-down conception of the fashion business couldn't be more out of date
這種自上而下的觀念太過時了，
or at odds with the feverish world described in Overdressed, Elizabeth Cline's three-year indictment of "fast fashion".
或者說它與Elizabeth Cline在歷時三年完成的《過度裝扮》一書中描述的那個狂熱的世界完全不同。
In the last decade or so, advances in technology have allowed mass-market labels such as Zara, H&M, and Uniqlo
近十年，科技的進(jìn)步使得Zara、H&M、Uniqlo等大眾品牌
to react to trends more quickly and anticipate demand more precisely.
能更快地追上潮流，更精準(zhǔn)地預(yù)測需求。
Quickier turnarounds mean less wasted inventory, more frequent releases, and more profit.
更快的周轉(zhuǎn)期意味著更少的庫存浪費，更頻繁的上新，也意味著更多的利潤。
Those labels encourage style conscious consumers to see clothes as disposable—meant to last only a wash or two,
這些時裝廠商鼓勵追求時尚的消費者把時裝變成一次性消費品--頂多洗兩次就扔，
although they don't advertise that—and to renew their wardrobe every few weeks.
盡管他們沒有明確打廣告--過幾周就更新一次衣柜。
By offering on-trend items at dirt cheap prices, Cline argues, these brands have hijacked fashion cycles,
Cline稱，通過超低價銷售時裝，這些廠商破壞了時尚周期，
shaking an industry long accustomed to a seasonal pace.
動搖了時尚潮流隨季節(jié)變化的步伐。
The victims of this revolution, of course, are not limited to designers.
當(dāng)然，這么頻繁更新，折騰的不光是服裝設(shè)計師。
For H&M to offer a $ 5.95 knit miniskirt in all its 2,300-plus stores around the world,
以H&M為例，他們在全球有2300多家分店，若想同時推出一款售價為5.95美元的針織迷你裙，
it must rely on low-wage overseas labor, order in volumes that strain natural resources, and use massive amounts of harmful chemicals.
只能依賴低工資的海外勞動力與消耗自然資源的批量訂單，并大量使用有害化學(xué)物質(zhì)。
Overdressed is the fashion world's answer to consumer-activist bestsellers like Michael Pollan's The Omnivore's Dilemma.
《過度裝扮》其實就是對像Michael Pollan’s所著的《雜食動物的困境》這一類活躍的消費類暢銷書的回應(yīng)。
“Mass-produced clothing, like fast food, fills a hunger and need, yet is non-durable and wasteful,” Cline argues.
Cline琳認(rèn)為，大量的生產(chǎn)的衣服，就和快餐一樣，能對付饑餓和需求，卻不持久且浪費。
Americans, she finds, buy roughly 20 billion garments a year--about 64 items per person
她發(fā)現(xiàn)，美國人一年購置服裝多達(dá)二百億件，相當(dāng)于每人六十四件，
and no matter how much they give away, this excess leads to waste.
不管他們花了多少錢，這種過度買衣服就會導(dǎo)致浪費。
Towards the end of Overdressed, Cline introduced her ideal, a Brooklyn woman named Sarah Kate Beaumont,
在《過度裝扮》書末，Cline琳介紹了她理想中的人，一位叫做Sarah Kate Beaumont，住在布魯克林的女士，
who since 2008 has made all of her own clothes— and beautifully.
這位女士從2008年開始所有的衣服都是自己做的，而且衣服都做得很漂亮。
But as Cline is the first to note, it took Beaumont decades to perfect her craft; her example can't be knocked off.
不過Cline也承認(rèn)，Beaumont花了幾十年來完善她的手藝，以她做例子，難以服眾。
Though several fast-fashion companies have made efforts to curb their impact on labor and the environment
盡管幾個快時尚公司都在設(shè)法控制他們對勞工和環(huán)境的影響，
including H&M, with its green Conscious Collection line.
包括H&M推出了Conscious Collection系列衣服。
Cline believes lasting change can only be effected by the customer.
Cline認(rèn)為只有客戶能帶來持久的改變。
She exhibits the idealism common to many advocates of sustainability, be it in food or in energy.
Cline指出，不管是在食物還是在能源上，可持續(xù)性的倡導(dǎo)都太理想化了。
Vanity is a constant; people will only start shopping more sustainably when they can't afford not to.
虛榮是常態(tài)，人們只有在沒法兒承擔(dān)不合理購物的影響時才會合理購物。
