Đề thi thử tốt nghiệp THPT môn Tiếng Anh Sở GD&ĐT Vĩnh Long năm 2026

Read the passage and mark the letter A, B, C or D on your answer sheet to indicate the best answer to each of the following questions.

The story of fast fashion is, in many ways, the story of modern desire-an industry built upon the promise of endless novelty, accessibility, and reinvention. Garments appear in shops and online feeds with astonishing speed, inviting consumers to participate in cycles of constant renewal. Each purchase feels fleeting and harmless, a small indulgence folded neatly into everyday life. [I] Yet the simplicity of buying conceals a far more complicated reality, one that extends far beyond the moment of consumption.

Fast fashion embodies a paradox. Created to satisfy the appetite for change, its products often outlast the trends they were designed to follow. [II] Clothes intended for brief use accumulate in landfills, wardrobes, and second-hand markets, persisting long after their cultural relevance has faded. Manufactured from synthetic materials that resist decomposition, they remain suspended between utility and waste. Meanwhile, the very industry that promises self-expression frequently relies on uniformity-mass-producing individuality on a global scale. What is marketed as empowerment through choice becomes, ironically, a mechanism of environmental strain and social exploitation.

To speak of fast fashion is to speak of distance: between producer and consumer, between appearance and reality, between affordability and its hidden price. Behind the polished storefronts and carefully curated advertisements lies a network of extraction, labour, and disposal that remains largely invisible to those who benefit from it. [III] Each cheaply made garment carries traces of exhausted resources, underpaid workers, and polluted waterways. What appears economically efficient in the short term generates costs dispersed across ecosystems and communities, costs rarely reflected on a price tag.

The environmental crisis associated with fast fashion is therefore not merely the result of excessive clothing production but evidence of a deeper cultural condition: the elevation of disposability into a virtue. [IV] Proposed remedies-recycling initiatives, sustainable fabrics, ethical certifications-address part of the problem, yet they cannot fully succeed without confronting the mindset that equates constant consumption with progress. As long as novelty remains inseparable from value, fast fashion will persist as more than an industry. It will remain a symbol of a civilisation caught between the desire for self-expression and the consequences of excess: endlessly changing in appearance, yet repeating the same destructive patterns beneath the surface.

Read the passage and mark the letter A, B, C or D on your answer sheet to indicate the best answer to each of the following questions.

The story of fast fashion is, in many ways, the story of modern desire-an industry built upon the promise of endless novelty, accessibility, and reinvention. Garments appear in shops and online feeds with astonishing speed, inviting consumers to participate in cycles of constant renewal. Each purchase feels fleeting and harmless, a small indulgence folded neatly into everyday life. [I] Yet the simplicity of buying conceals a far more complicated reality, one that extends far beyond the moment of consumption.

Fast fashion embodies a paradox. Created to satisfy the appetite for change, its products often outlast the trends they were designed to follow. [II] Clothes intended for brief use accumulate in landfills, wardrobes, and second-hand markets, persisting long after their cultural relevance has faded. Manufactured from synthetic materials that resist decomposition, they remain suspended between utility and waste. Meanwhile, the very industry that promises self-expression frequently relies on uniformity-mass-producing individuality on a global scale. What is marketed as empowerment through choice becomes, ironically, a mechanism of environmental strain and social exploitation.

To speak of fast fashion is to speak of distance: between producer and consumer, between appearance and reality, between affordability and its hidden price. Behind the polished storefronts and carefully curated advertisements lies a network of extraction, labour, and disposal that remains largely invisible to those who benefit from it. [III] Each cheaply made garment carries traces of exhausted resources, underpaid workers, and polluted waterways. What appears economically efficient in the short term generates costs dispersed across ecosystems and communities, costs rarely reflected on a price tag.

The environmental crisis associated with fast fashion is therefore not merely the result of excessive clothing production but evidence of a deeper cultural condition: the elevation of disposability into a virtue. [IV] Proposed remedies-recycling initiatives, sustainable fabrics, ethical certifications-address part of the problem, yet they cannot fully succeed without confronting the mindset that equates constant consumption with progress. As long as novelty remains inseparable from value, fast fashion will persist as more than an industry. It will remain a symbol of a civilisation caught between the desire for self-expression and the consequences of excess: endlessly changing in appearance, yet repeating the same destructive patterns beneath the surface.

Read the passage and mark the letter A, B, C or D on your answer sheet to indicate the best answer to each of the following questions.

The story of fast fashion is, in many ways, the story of modern desire-an industry built upon the promise of endless novelty, accessibility, and reinvention. Garments appear in shops and online feeds with astonishing speed, inviting consumers to participate in cycles of constant renewal. Each purchase feels fleeting and harmless, a small indulgence folded neatly into everyday life. [I] Yet the simplicity of buying conceals a far more complicated reality, one that extends far beyond the moment of consumption.

Fast fashion embodies a paradox. Created to satisfy the appetite for change, its products often outlast the trends they were designed to follow. [II] Clothes intended for brief use accumulate in landfills, wardrobes, and second-hand markets, persisting long after their cultural relevance has faded. Manufactured from synthetic materials that resist decomposition, they remain suspended between utility and waste. Meanwhile, the very industry that promises self-expression frequently relies on uniformity-mass-producing individuality on a global scale. What is marketed as empowerment through choice becomes, ironically, a mechanism of environmental strain and social exploitation.

To speak of fast fashion is to speak of distance: between producer and consumer, between appearance and reality, between affordability and its hidden price. Behind the polished storefronts and carefully curated advertisements lies a network of extraction, labour, and disposal that remains largely invisible to those who benefit from it. [III] Each cheaply made garment carries traces of exhausted resources, underpaid workers, and polluted waterways. What appears economically efficient in the short term generates costs dispersed across ecosystems and communities, costs rarely reflected on a price tag.

The environmental crisis associated with fast fashion is therefore not merely the result of excessive clothing production but evidence of a deeper cultural condition: the elevation of disposability into a virtue. [IV] Proposed remedies-recycling initiatives, sustainable fabrics, ethical certifications-address part of the problem, yet they cannot fully succeed without confronting the mindset that equates constant consumption with progress. As long as novelty remains inseparable from value, fast fashion will persist as more than an industry. It will remain a symbol of a civilisation caught between the desire for self-expression and the consequences of excess: endlessly changing in appearance, yet repeating the same destructive patterns beneath the surface.

Read the passage and mark the letter A, B, C or D on your answer sheet to indicate the best answer to each of the following questions.

The story of fast fashion is, in many ways, the story of modern desire-an industry built upon the promise of endless novelty, accessibility, and reinvention. Garments appear in shops and online feeds with astonishing speed, inviting consumers to participate in cycles of constant renewal. Each purchase feels fleeting and harmless, a small indulgence folded neatly into everyday life. [I] Yet the simplicity of buying conceals a far more complicated reality, one that extends far beyond the moment of consumption.

Fast fashion embodies a paradox. Created to satisfy the appetite for change, its products often outlast the trends they were designed to follow. [II] Clothes intended for brief use accumulate in landfills, wardrobes, and second-hand markets, persisting long after their cultural relevance has faded. Manufactured from synthetic materials that resist decomposition, they remain suspended between utility and waste. Meanwhile, the very industry that promises self-expression frequently relies on uniformity-mass-producing individuality on a global scale. What is marketed as empowerment through choice becomes, ironically, a mechanism of environmental strain and social exploitation.

To speak of fast fashion is to speak of distance: between producer and consumer, between appearance and reality, between affordability and its hidden price. Behind the polished storefronts and carefully curated advertisements lies a network of extraction, labour, and disposal that remains largely invisible to those who benefit from it. [III] Each cheaply made garment carries traces of exhausted resources, underpaid workers, and polluted waterways. What appears economically efficient in the short term generates costs dispersed across ecosystems and communities, costs rarely reflected on a price tag.

The environmental crisis associated with fast fashion is therefore not merely the result of excessive clothing production but evidence of a deeper cultural condition: the elevation of disposability into a virtue. [IV] Proposed remedies-recycling initiatives, sustainable fabrics, ethical certifications-address part of the problem, yet they cannot fully succeed without confronting the mindset that equates constant consumption with progress. As long as novelty remains inseparable from value, fast fashion will persist as more than an industry. It will remain a symbol of a civilisation caught between the desire for self-expression and the consequences of excess: endlessly changing in appearance, yet repeating the same destructive patterns beneath the surface.

Read the passage and mark the letter A, B, C or D on your answer sheet to indicate the best answer to each of the following questions.

The story of fast fashion is, in many ways, the story of modern desire-an industry built upon the promise of endless novelty, accessibility, and reinvention. Garments appear in shops and online feeds with astonishing speed, inviting consumers to participate in cycles of constant renewal. Each purchase feels fleeting and harmless, a small indulgence folded neatly into everyday life. [I] Yet the simplicity of buying conceals a far more complicated reality, one that extends far beyond the moment of consumption.

Fast fashion embodies a paradox. Created to satisfy the appetite for change, its products often outlast the trends they were designed to follow. [II] Clothes intended for brief use accumulate in landfills, wardrobes, and second-hand markets, persisting long after their cultural relevance has faded. Manufactured from synthetic materials that resist decomposition, they remain suspended between utility and waste. Meanwhile, the very industry that promises self-expression frequently relies on uniformity-mass-producing individuality on a global scale. What is marketed as empowerment through choice becomes, ironically, a mechanism of environmental strain and social exploitation.

To speak of fast fashion is to speak of distance: between producer and consumer, between appearance and reality, between affordability and its hidden price. Behind the polished storefronts and carefully curated advertisements lies a network of extraction, labour, and disposal that remains largely invisible to those who benefit from it. [III] Each cheaply made garment carries traces of exhausted resources, underpaid workers, and polluted waterways. What appears economically efficient in the short term generates costs dispersed across ecosystems and communities, costs rarely reflected on a price tag.

The environmental crisis associated with fast fashion is therefore not merely the result of excessive clothing production but evidence of a deeper cultural condition: the elevation of disposability into a virtue. [IV] Proposed remedies-recycling initiatives, sustainable fabrics, ethical certifications-address part of the problem, yet they cannot fully succeed without confronting the mindset that equates constant consumption with progress. As long as novelty remains inseparable from value, fast fashion will persist as more than an industry. It will remain a symbol of a civilisation caught between the desire for self-expression and the consequences of excess: endlessly changing in appearance, yet repeating the same destructive patterns beneath the surface.

Read the passage and mark the letter A, B, C or D on your answer sheet to indicate the best answer to each of the following questions.

The story of fast fashion is, in many ways, the story of modern desire-an industry built upon the promise of endless novelty, accessibility, and reinvention. Garments appear in shops and online feeds with astonishing speed, inviting consumers to participate in cycles of constant renewal. Each purchase feels fleeting and harmless, a small indulgence folded neatly into everyday life. [I] Yet the simplicity of buying conceals a far more complicated reality, one that extends far beyond the moment of consumption.

Fast fashion embodies a paradox. Created to satisfy the appetite for change, its products often outlast the trends they were designed to follow. [II] Clothes intended for brief use accumulate in landfills, wardrobes, and second-hand markets, persisting long after their cultural relevance has faded. Manufactured from synthetic materials that resist decomposition, they remain suspended between utility and waste. Meanwhile, the very industry that promises self-expression frequently relies on uniformity-mass-producing individuality on a global scale. What is marketed as empowerment through choice becomes, ironically, a mechanism of environmental strain and social exploitation.

To speak of fast fashion is to speak of distance: between producer and consumer, between appearance and reality, between affordability and its hidden price. Behind the polished storefronts and carefully curated advertisements lies a network of extraction, labour, and disposal that remains largely invisible to those who benefit from it. [III] Each cheaply made garment carries traces of exhausted resources, underpaid workers, and polluted waterways. What appears economically efficient in the short term generates costs dispersed across ecosystems and communities, costs rarely reflected on a price tag.

The environmental crisis associated with fast fashion is therefore not merely the result of excessive clothing production but evidence of a deeper cultural condition: the elevation of disposability into a virtue. [IV] Proposed remedies-recycling initiatives, sustainable fabrics, ethical certifications-address part of the problem, yet they cannot fully succeed without confronting the mindset that equates constant consumption with progress. As long as novelty remains inseparable from value, fast fashion will persist as more than an industry. It will remain a symbol of a civilisation caught between the desire for self-expression and the consequences of excess: endlessly changing in appearance, yet repeating the same destructive patterns beneath the surface.

Read the passage and mark the letter A, B, C or D on your answer sheet to indicate the best answer to each of the following questions.

The story of fast fashion is, in many ways, the story of modern desire-an industry built upon the promise of endless novelty, accessibility, and reinvention. Garments appear in shops and online feeds with astonishing speed, inviting consumers to participate in cycles of constant renewal. Each purchase feels fleeting and harmless, a small indulgence folded neatly into everyday life. [I] Yet the simplicity of buying conceals a far more complicated reality, one that extends far beyond the moment of consumption.

Fast fashion embodies a paradox. Created to satisfy the appetite for change, its products often outlast the trends they were designed to follow. [II] Clothes intended for brief use accumulate in landfills, wardrobes, and second-hand markets, persisting long after their cultural relevance has faded. Manufactured from synthetic materials that resist decomposition, they remain suspended between utility and waste. Meanwhile, the very industry that promises self-expression frequently relies on uniformity-mass-producing individuality on a global scale. What is marketed as empowerment through choice becomes, ironically, a mechanism of environmental strain and social exploitation.

To speak of fast fashion is to speak of distance: between producer and consumer, between appearance and reality, between affordability and its hidden price. Behind the polished storefronts and carefully curated advertisements lies a network of extraction, labour, and disposal that remains largely invisible to those who benefit from it. [III] Each cheaply made garment carries traces of exhausted resources, underpaid workers, and polluted waterways. What appears economically efficient in the short term generates costs dispersed across ecosystems and communities, costs rarely reflected on a price tag.

The environmental crisis associated with fast fashion is therefore not merely the result of excessive clothing production but evidence of a deeper cultural condition: the elevation of disposability into a virtue. [IV] Proposed remedies-recycling initiatives, sustainable fabrics, ethical certifications-address part of the problem, yet they cannot fully succeed without confronting the mindset that equates constant consumption with progress. As long as novelty remains inseparable from value, fast fashion will persist as more than an industry. It will remain a symbol of a civilisation caught between the desire for self-expression and the consequences of excess: endlessly changing in appearance, yet repeating the same destructive patterns beneath the surface.

Read the passage and mark the letter A, B, C or D on your answer sheet to indicate the best answer to each of the following questions.

The story of fast fashion is, in many ways, the story of modern desire-an industry built upon the promise of endless novelty, accessibility, and reinvention. Garments appear in shops and online feeds with astonishing speed, inviting consumers to participate in cycles of constant renewal. Each purchase feels fleeting and harmless, a small indulgence folded neatly into everyday life. [I] Yet the simplicity of buying conceals a far more complicated reality, one that extends far beyond the moment of consumption.

Fast fashion embodies a paradox. Created to satisfy the appetite for change, its products often outlast the trends they were designed to follow. [II] Clothes intended for brief use accumulate in landfills, wardrobes, and second-hand markets, persisting long after their cultural relevance has faded. Manufactured from synthetic materials that resist decomposition, they remain suspended between utility and waste. Meanwhile, the very industry that promises self-expression frequently relies on uniformity-mass-producing individuality on a global scale. What is marketed as empowerment through choice becomes, ironically, a mechanism of environmental strain and social exploitation.

To speak of fast fashion is to speak of distance: between producer and consumer, between appearance and reality, between affordability and its hidden price. Behind the polished storefronts and carefully curated advertisements lies a network of extraction, labour, and disposal that remains largely invisible to those who benefit from it. [III] Each cheaply made garment carries traces of exhausted resources, underpaid workers, and polluted waterways. What appears economically efficient in the short term generates costs dispersed across ecosystems and communities, costs rarely reflected on a price tag.

The environmental crisis associated with fast fashion is therefore not merely the result of excessive clothing production but evidence of a deeper cultural condition: the elevation of disposability into a virtue. [IV] Proposed remedies-recycling initiatives, sustainable fabrics, ethical certifications-address part of the problem, yet they cannot fully succeed without confronting the mindset that equates constant consumption with progress. As long as novelty remains inseparable from value, fast fashion will persist as more than an industry. It will remain a symbol of a civilisation caught between the desire for self-expression and the consequences of excess: endlessly changing in appearance, yet repeating the same destructive patterns beneath the surface.

Read the passage and mark the letter A, B, C or D on your answer sheet to indicate the best answer to each of the following questions.

The story of fast fashion is, in many ways, the story of modern desire-an industry built upon the promise of endless novelty, accessibility, and reinvention. Garments appear in shops and online feeds with astonishing speed, inviting consumers to participate in cycles of constant renewal. Each purchase feels fleeting and harmless, a small indulgence folded neatly into everyday life. [I] Yet the simplicity of buying conceals a far more complicated reality, one that extends far beyond the moment of consumption.

Fast fashion embodies a paradox. Created to satisfy the appetite for change, its products often outlast the trends they were designed to follow. [II] Clothes intended for brief use accumulate in landfills, wardrobes, and second-hand markets, persisting long after their cultural relevance has faded. Manufactured from synthetic materials that resist decomposition, they remain suspended between utility and waste. Meanwhile, the very industry that promises self-expression frequently relies on uniformity-mass-producing individuality on a global scale. What is marketed as empowerment through choice becomes, ironically, a mechanism of environmental strain and social exploitation.

To speak of fast fashion is to speak of distance: between producer and consumer, between appearance and reality, between affordability and its hidden price. Behind the polished storefronts and carefully curated advertisements lies a network of extraction, labour, and disposal that remains largely invisible to those who benefit from it. [III] Each cheaply made garment carries traces of exhausted resources, underpaid workers, and polluted waterways. What appears economically efficient in the short term generates costs dispersed across ecosystems and communities, costs rarely reflected on a price tag.

The environmental crisis associated with fast fashion is therefore not merely the result of excessive clothing production but evidence of a deeper cultural condition: the elevation of disposability into a virtue. [IV] Proposed remedies-recycling initiatives, sustainable fabrics, ethical certifications-address part of the problem, yet they cannot fully succeed without confronting the mindset that equates constant consumption with progress. As long as novelty remains inseparable from value, fast fashion will persist as more than an industry. It will remain a symbol of a civilisation caught between the desire for self-expression and the consequences of excess: endlessly changing in appearance, yet repeating the same destructive patterns beneath the surface.

Read the passage and mark the letter A, B, C or D on your answer sheet to indicate the best answer to each of the following questions.

The story of fast fashion is, in many ways, the story of modern desire-an industry built upon the promise of endless novelty, accessibility, and reinvention. Garments appear in shops and online feeds with astonishing speed, inviting consumers to participate in cycles of constant renewal. Each purchase feels fleeting and harmless, a small indulgence folded neatly into everyday life. [I] Yet the simplicity of buying conceals a far more complicated reality, one that extends far beyond the moment of consumption.

Fast fashion embodies a paradox. Created to satisfy the appetite for change, its products often outlast the trends they were designed to follow. [II] Clothes intended for brief use accumulate in landfills, wardrobes, and second-hand markets, persisting long after their cultural relevance has faded. Manufactured from synthetic materials that resist decomposition, they remain suspended between utility and waste. Meanwhile, the very industry that promises self-expression frequently relies on uniformity-mass-producing individuality on a global scale. What is marketed as empowerment through choice becomes, ironically, a mechanism of environmental strain and social exploitation.

To speak of fast fashion is to speak of distance: between producer and consumer, between appearance and reality, between affordability and its hidden price. Behind the polished storefronts and carefully curated advertisements lies a network of extraction, labour, and disposal that remains largely invisible to those who benefit from it. [III] Each cheaply made garment carries traces of exhausted resources, underpaid workers, and polluted waterways. What appears economically efficient in the short term generates costs dispersed across ecosystems and communities, costs rarely reflected on a price tag.

The environmental crisis associated with fast fashion is therefore not merely the result of excessive clothing production but evidence of a deeper cultural condition: the elevation of disposability into a virtue. [IV] Proposed remedies-recycling initiatives, sustainable fabrics, ethical certifications-address part of the problem, yet they cannot fully succeed without confronting the mindset that equates constant consumption with progress. As long as novelty remains inseparable from value, fast fashion will persist as more than an industry. It will remain a symbol of a civilisation caught between the desire for self-expression and the consequences of excess: endlessly changing in appearance, yet repeating the same destructive patterns beneath the surface.