Critical Reading>Select an Answer
Racks of clothes stood at distances from each otheracross the room: cliques of glamorous ghosts. Amirror covered one wall, sketches and patterns tapedto it here and there. Near the opposite wall of panedglass, two assistants worked at a long table toppedwith computers, stacks of magazines, and wads offabric. Across a narrow street stood a brick building with small windows framing scenes froma play: actors playing office workers, drifting in and out of cubicles.
"Now," Eddie said once Rebecca had ended her call, "show us what you're working on."
Rebecca searched the coffee table and tugged some sketches out from a pile. "It's Arts andCrafts, and it's Dolce Vita. There's a little kabuki in the silhouette, you see. And Voltaire—I'vebeen reading Voltaire." She turned to Dinah. "I must sound totally pretentious to you, Dinah, but this is what I do. I have to plunder. Fashion is nothing so pure as dance. By nature, clothes must refer."
She continued to make claims Dinah didn't quite understand, but which sounded wild andintelligent, and which made Dinah long to become that person who would understand them, agree or disagree with them. Dinah clearly knew nothing. She hadn't even known that dancewas pure.
Eddie voraciously seconded everything Rebecca said. Then Rebecca led them over to a rack andstarted pulling out suits of pink tweed, tops of accordioned silk, skirts of mossy burlap.
"I'm working younger these days." She held a strange little blue dress up to Dinah. "You couldwear this. It's that young."
In general, Dinah sailed on a smooth emotional sea, free from the crushes and contests thatstormed on her friends. But now and then, a wave of adolescent emotion would rise out ofnowhere and crash against her. Here came one such tsunami: complete devotion to RebeccaLeigh, this queen of the city who treated Dinah as an equal. Dinah loved her more than her bestfriend, more than her mother.
Based on the passage, which statement best reflects Rebecca's view of fashiondesigners?
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