A. In the vintage shops of Dundee, a faded band T-shirt can cost more than a new one. Shoppers aged between eighteen and twenty-five now buy second-hand clothing at a rate one and a half times higher than five years ago, and for many the label "pre-loved" is a selling point, not an apology. Some buyers now describe a worn jacket with visible repairs as more characterful than anything on a new-season rail. B. Sellers have noticed. Charity shops have improved their windows, online resale platforms now photograph items like fashion magazines, and some high-street brands have opened their own second-hand corners, offering store credit for old clothes. Repair cafés, meanwhile, have sprung up in two neighbourhoods, extending the same logic from buying less to keeping clothes longer. C. Not everyone applauds. Critics point out that nearly half of donated clothes are still exported or dumped, and that "reselling does not shrink the mountains of new production. When "vintage" becomes a style, they argue, fast fashion simply changes costume. D. Warehouse operators say the export trade hides the problem from shoppers, who rarely learn where their unchosen donations finally land. The shops themselves see it plainly: customers who once asked about price tags now ask where a piece came from and how it was made. Shop owners answer with arithmetic: 段 "every garment resold is one not manufactured, and buyers who learn to read stitching and fabric become slower, pickier customers. E. The racks in Dundee may not end overproduction, but they are quietly teaching a generation to prefer clothes with a past. It is a modest answer to an enormous industry, but it is an answer made of habits rather than slogans.
选词填空：Warehouse operators say the export trade hides the problem from shoppers, who rarely learn where their unchosen ______ finally land.