这是13年考研英语一中的一道阅读题的原文，现用于练习翻译。译后比对参考翻译，发现对原文有不少的理解差错。
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 departments stores and to the bargain bin in which the poor girl doubtless found her garment.
在2006年的电影，《穿普拉达的女王》中，由梅丽尔·斯特里普饰演的米兰达斥责她那没有魅力的助理没有跟上时尚的潮流。因为她的助理这几年里，在时尚秀时穿的一件毛衣，在商场也穿这件毛衣，在商品促销区里，这位可怜的姑娘还穿这件毛衣。原本深蓝的毛衣都已经褪色了。 她的助手穿的深蓝色毛衣从时装秀沦落到商店再沦落到促销区。而无疑是在促销区里，这位可伶的姑娘发现了她的这件衣服。
This top-down conception of the fashion business couldn’t be more out of date or at odds with the feverish would described in Overdressed, Elizabeth Cline’s three-year indictment of “fast fashion”.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 release, 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.
在《过度打扮》一书中，作者伊丽莎白认为时尚界这种自上而下的观点是完全过时的和书里描写的充斥着狂热的欲望的世界相比是完全过时的。她花了三年时间完成这本书来控诉“快时尚”。在过去的几十年，科技的进步使得大众市场里如Zara，H&M和优衣库这样的品牌能够更及时地应对潮流的变化，更准确地预计市场的需要。更快的产品更替意味着更少的被浪费的库存，更频繁的新品发布和更多的利润。这些品牌鼓励注重时尚的顾客把衣服看作一次性的产品，即衣服洗过一两次后就过时了，不能穿了。尽管这些品牌没有这样宣传。同时他们也鼓励消费者每过几个星期更新一次衣柜。通过以极低的价格提供时尚商品，这些品牌绑架了时尚圈，撼动了长期以来习惯于按季更新的时尚产业，伊丽莎白认为。
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-pius 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.
这次变革的受害者当然不仅限于设计师。因为H&M如果要在全球2300多家连锁店里以5.95美元的价格卖同一件针织迷你裙，它必须依赖海外的廉价劳工。并且大量的订单需要消耗自然资源，使用大量的有害化学物质。
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.
《过度打扮》是时尚界对如迈克尔·波伦写的《杂食动物的悖论》这样消费者权益运动畅销书的回答。“批量生产的衣服，就像快餐，能消除饥饿，满足需求，但并不能长久，而且会造成浪费。” 伊丽莎白说道。她发现美国人一年 花大约200亿美元买 大约买200亿件衣服，大约每人每年买64件。他们可能把衣服送给了别人。但这么多衣服还是会导致浪费。
Towards the end of Overdressed, Cline introduced 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.
《过度打扮》的最后，伊丽莎白介绍了她的偶像，一位叫莎拉·凯特·博蒙特的住在布鲁克林的妇女。从2008年开始，她所有的衣服都是自己做的，并且都很漂亮。但如伊丽莎白一开始提到的，她花了几十年来完善她的手工，她的例子是不能被复制的。
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.
尽管一些快时尚公司已经为控制它们对劳工和环境施加的影响做出努力，比如H&M公司就开辟了一条绿色生产收集线，伊丽莎白认为只有消费者能促成持久的改变。她展示了在和食物或能源领域里许多可持续倡议者有一样的理想主义。虚荣心大家都有。人们只有在他们买不起这些东西时，才会更符合可持续理念地进行购买。
From:https://www.bloomberg.com/news/articles/2012-06-21/book-review-overdressed-by-elizabeth-l-dot-cline (excerpted)
来自：https://www.bloomberg.com/news/articles/2012-06-21/book-review-overdressed-by-elizabeth-l-dot-cline (节选)