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  • 英译汉     In the film The Devil Wears Prada, Priestly 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     This top-down conception of the fashion business couldn't be more out of date or at odds with the feverish world described in Overdressed, Elizabeth Cline's three-year condemnation of "fast fashion". In the last decade, advances in technology have allowed mass-market labels to react to trends more quickly and anticipate demand more precisely. These labels encourage style conscious consumers to see clothes as disposable and to renew their wardrobe every few weeks. By offering on-trend items at dirt- cheap prices, these brands have hijacked fashion cycles, shaking an industry long accustomed to a seasonal pace.

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       在电影《穿普拉达的女魔头》(或《时尚女魔头》)中,Priestly批评她缺乏魅力的助手,指责她竞然对高端时尚无动于衷。Priestly解释了助手所穿毛衣的深蓝色调多年来是如何从时装秀场屈尊至百货店,再沦落到折扣区的,而这个可怜的女孩无疑是从折价区淘到这件衣服的。 
       时尚业这种自上而下的观念早已过时,也与伊丽莎白.克莱恩在《过度着装》中所描述的狂热世界完全相悖,在这本历时三年完成的书中,克莱恩表述了她对“快速时尚”的控诉。在过去十年间,技术发展使得大众品牌能对时尚做出更快反应,并对需求做出更准确预测。这些品牌鼓励热衷时尚的消费者将服装视为一次性消费品,每隔一两周就更换一次衣橱。这些品牌通过提供低廉而流行的服装,操控了时尚的循环周期,撼动了一个长久以来一直连循以“季”为周期的行业。

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