夏洛克·福爾摩斯：從未存在 永遠流傳（1）

The Museum of London recently debuted Sherlock Holmes: The Man Who Never Lived and Will Never Die, a major exhibition devoted the fictional detective and the real city he inhabited. The items on display include a rare manuscript of Edgar Allan Poe’s The Murders in Rue Morgue—a key influence on Holmes’s creator, Arthur Conan Doyle—and a portrait of Conan Doyle never before seen in public. But alongside these one-of-a-kind historical treasures, visitors will find two curiously modern artifacts: the coat and dressing gown worn by Benedict Cumberbatch in Sherlock, the BBC’s 21st-century reboot of the Holmes stories.
夏洛克·福爾摩斯：從未存在 永遠流傳(Sherlock Holmes: The Man Who Never Lived and Will Never Die)——這是英國倫敦博物館正在舉行的首場大型福爾摩斯展的名稱。這場關(guān)于柯南·道爾(Arthur Conan Doyle)筆下虛構(gòu)大偵探的展覽，還向參觀者還原了當(dāng)時真實的倫敦城——福爾摩斯的倫敦城。本次展出的展品包括埃德加·愛倫·坡(Edgar Allan Poe)小說《莫格街謀殺案》的罕見手稿，該手稿對柯南·道爾創(chuàng)作出福爾摩斯這一人物起到了關(guān)鍵性作用。此外，一幅之前從未公開的柯南·道爾的肖像也在展品之列。而除了這些獨一無二的歷史寶藏，參觀者們還將看到兩件奇怪的現(xiàn)代展品：英國廣播公司(BBC)出品的系列《神探夏洛克》(Sherlock)中，夏洛克扮演者“卷福”本尼迪克特·康伯巴奇(Benedict Cumberbatch)在劇中所穿的大衣和睡袍。

While these costumes are obvious bait for fanboys (and fangirls) who might not be clued into the Victorian literary sensation behind the modern-day television sensation, they also serve as a reminder that Holmes’s fashion choices, from page to screen, have always launched real-world trends. In Conan Doyle’s lifetime, Holmes’s name and likeness were used to advertise pipes and shirts as well as tea, toffee, and mouthwash. More recently, Esquire, FHM, and GQ have advised readers on how to get the Sherlock look. The exhibition provides a retrospective of Sherlockian style, investigating how it has evolved while retaining its instantly recognizable Victorian fashion DNA. The museum even commissioned a Scottish textile mill to create a signature tweed in Holmes’s honor, and a concurrent show features fashion photographer Kasia Wozniak’s prints made using a 1890 field camera.

對那些癡迷“卷福”和《神探夏洛克》卻對其原著和維多利亞文學(xué)無感的少男少女們來說，這兩件戲服的誘惑無疑是巨大的。然而，這也從另一個側(cè)面提醒我們，從書本到熒幕，福爾摩斯一直引領(lǐng)著社會的時尚潮流?？履?middot;道爾生活的那個時代，福爾摩斯的名字和肖像被用來宣傳煙斗、襯衫、茶、太妃糖甚至是漱口水。如今，《時尚先生》( Esquire)、《男人裝》(FHM)、《紳士季刊》(CQ)則給讀者提供了夏洛克風(fēng)格的紳士范穿搭指南。本次展覽回溯了夏洛克風(fēng)格的發(fā)展歷程，研究了夏洛克風(fēng)格如何在其演變發(fā)展的過程中，依然保有鮮明的維多利亞時尚元素。倫敦博物館還委托一家蘇格蘭紡織廠特制出一件福爾摩斯紀(jì)念款簽名花呢大衣，并同時展出了時尚攝影師卡西亞·沃茲尼亞克(Kasia Wozniak)用1890年款便攜式相機拍攝的作品。

This lasting fashion legacy is all the more extraordinary considering how stingy Conan Doyle was with descriptions of dress. Our image of Holmes comes almost entirely from his illustrator, Sidney Paget, whose elegant, angular prototype influenced every incarnation thereafter. Though he didn’t always share them with readers, however, Conan Doyle clearly had firm ideas about Holmes’s appearance; he once protested that a poster for the 1899 play Sherlock Holmesmade the detective look “about five feet high” and “badly dressed.” And Timothy Long, the Museum of London’s fashion curator, points out that Conan Doyle used a “lost language” of fashion. “The modern audience reading these stories often overlooks clues that were very obvious to contemporary readers,” he says. “Putting Watson in a morning coat or a frock coat indicated the time of day, for example.”

夏洛克風(fēng)格的時尚傳奇源自柯南·道爾對服飾細節(jié)近乎苛刻的描摹。我們對福爾摩斯形象的認(rèn)知幾乎全都來自西德尼·佩吉特(Sidney Paget)的插圖。他畫筆下的福爾摩斯原型優(yōu)雅、消瘦，影響了此后每一個福爾摩斯形象的創(chuàng)作。盡管柯南·道爾不常與讀者交換意見，但他顯然對福爾摩斯的形象有自己的理解。他曾對1899年舞臺劇《夏洛克·福爾摩斯》海報中的夏克洛形象提出異議，稱海報中的福爾摩斯看上去只有“約5英尺高”(1.524米)，并且“衣著邋遢”。倫敦博物館時尚策展人蒂莫西·朗(Timothy Long)指出，柯南·道爾在書中用了很多有關(guān)時尚的“暗語”。“現(xiàn)代讀者在讀福爾摩斯時，常會忽略那些對作者同時代讀者來說顯而易見的線索。比如，作者描寫華生穿的是晨禮服還是長禮服，其實就已經(jīng)暗示了時間。”

Long describes Holmes’s wardrobe as that of “a modern English gentleman. The greatcoat and the deerstalker were key components of any gentleman’s wardrobe in England at that time period.” Thanks to the popularity of the Holmes stories, plays, and films, they remain so in the popular imagination today. Holmes’s clothes in their various iterations are both timeless and very much of their times. The three most indelible Sherlocks—Paget’s original illustrations, Basil Rathbone in the 1930s, and Cumberbatch—all wear contemporary dress, yet they are all unmistakably the same character.

柯南·道爾對福爾摩斯服裝的大篇幅描述向我們展示了“一個現(xiàn)代英國紳士的形象——在那個時代，大衣和獵鹿帽是英國紳士衣柜里不可缺少的元素”。而因為福爾摩斯系列故事、戲劇和電影的普及，時至今日，大家想到福爾摩斯的樣子，仍不感到陌生。在各種各樣的版本里，福爾摩斯的形象永恒而又兼具各個時期的時代特色。佩吉特原始插圖中的福爾摩斯，19世紀(jì)30年代巴茲爾·雷斯伯恩(Basil Rathbone)版的福爾摩斯，以及如今的“卷福”版福爾摩斯——這三個迄今為止最成功的福爾摩斯形象都穿著帶有各自時代特點的服飾，卻又都準(zhǔn)確無誤地演繹了福爾摩斯永恒的經(jīng)典。

One movie poster called Holmes “the original caped crusader.”

曾有電影海報稱福爾摩斯是“披風(fēng)斗士原型”。

Take that coat, for example. In the stories, Holmes was “enveloped” in an Ulster, a long, single-breasted coat with a small collar and an attached a hip-length cape. Conan Doyle also mentioned an “overcoat” (possibly the same one) and a “long grey travelling-cloak.” These have morphed over time into one stately, billowing garment, lending the character the mystery and panache of a superhero. (The poster for the 1965 film A Study in Terror called Holmes “the original caped crusader.”) Rathbone’s iconic tartan coat was tailored for the big screen, with a more mobile, elbow-length cape and a wide, face-framing collar. Cumberbatch’s coat—an off-the-rack number by British label Belstaff—was inspired not by the Victorian ulster but the 18th-century greatcoat, with its high, stiffened collar and wide lapels. Instead of a cape, its double-breasted front and pleated, belted back provide volume and movement.

先說說福爾摩斯的大衣。小說里，福爾摩斯裹著Ulster款大衣——小領(lǐng)單排扣長款外套外搭長及臀部的大斗篷?？履?middot;道爾還提到了另一款“大衣”(也許就是同一件)以及一件“長長的灰色旅行斗篷”。隨著時間的推移，這些裝束賦予福爾摩斯這一人物神秘而又氣派十足的超級英雄形象——1965年電影《恐怖的研究》( A Study in Terror )海報稱福爾摩斯是“披風(fēng)斗士的原型”(“the original caped crusader”)。雷斯伯恩(Rathbone)版福爾摩斯標(biāo)志性的格子呢大衣，擁有靈活的及肘斗篷和與下顎輪廓更相稱的加寬衣領(lǐng)，專為大熒幕重新剪裁。“卷福”的大衣則是英國品牌貝達弗(Belstaff)的成衣，其創(chuàng)作靈感并非源于維多利亞時代的Ulster款大衣，而是來自18世紀(jì)的大衣款式，衣領(lǐng)高而硬，雙排扣前襟代替了斗篷，后背的收腰束帶設(shè)計則使衣服顯得更加大氣靈活。Long describes Holmes’s wardrobe as that of “a modern English gentleman. The

greatcoat and the deerstalker were key components of any gentleman’s wardrobe in England at that time period.” Thanks to the popularity of the Holmes stories, plays, and films, they remain so in the popular imagination today. Holmes’s clothes in their various iterations are both timeless and very much of their times. The three most indelible Sherlocks—Paget’s original illustrations, Basil Rathbone in the 1930s, and Cumberbatch—all wear contemporary dress, yet they are all unmistakably the same character.

柯南·道爾對福爾摩斯服裝的大篇幅描述向我們展示了“一個現(xiàn)代英國紳士的形象——在那個時代，大衣和獵鹿帽是英國紳士衣柜里不可缺少的元素”。而因為福爾摩斯系列故事、戲劇和電影的普及，時至今日，大家想到福爾摩斯的樣子，仍不感到陌生。在各種各樣的版本里，福爾摩斯的形象永恒而又兼具各個時期的時代特色。佩吉特原始插圖中的福爾摩斯，19世紀(jì)30年代巴茲爾·雷斯伯恩(Basil Rathbone)版的福爾摩斯，以及如今的“卷福”版福爾摩斯——這三個迄今為止最成功的福爾摩斯形象都穿著帶有各自時代特點的服飾，卻又都準(zhǔn)確無誤地演繹了福爾摩斯永恒的經(jīng)典。

One movie poster called Holmes “the original caped crusader.”

曾有電影海報稱福爾摩斯是“披風(fēng)斗士原型”。

Take that coat, for example. In the stories, Holmes was “enveloped” in an Ulster, a long, single-breasted coat with a small collar and an attached a hip-length cape. Conan Doyle also mentioned an “overcoat” (possibly the same one) and a “long grey travelling-cloak.” These have morphed over time into one stately, billowing garment, lending the character the mystery and panache of a superhero. (The poster for the 1965 film A Study in Terror called Holmes “the original caped crusader.”) Rathbone’s iconic tartan coat was tailored for the big screen, with a more mobile, elbow-length cape and a wide, face-framing collar. Cumberbatch’s coat—an off-the-rack number by British label Belstaff—was inspired not by the Victorian ulster but the 18th-century greatcoat, with its high, stiffened collar and wide lapels. Instead of a cape, its double-breasted front and pleated, belted back provide volume and movement.

先說說福爾摩斯的大衣。小說里，福爾摩斯裹著Ulster款大衣——小領(lǐng)單排扣長款外套外搭長及臀部的大斗篷?？履?middot;道爾還提到了另一款“大衣”(也許就是同一件)以及一件“長長的灰色旅行斗篷”。隨著時間的推移，這些裝束賦予福爾摩斯這一人物神秘而又氣派十足的超級英雄形象——1965年電影《恐怖的研究》( A Study in Terror )海報稱福爾摩斯是“披風(fēng)斗士的原型”(“the original caped crusader”)。雷斯伯恩(Rathbone)版福爾摩斯標(biāo)志性的格子呢大衣，擁有靈活的及肘斗篷和與下顎輪廓更相稱的加寬衣領(lǐng)，專為大熒幕重新剪裁。“卷福”的大衣則是英國品牌貝達弗(Belstaff)的成衣，其創(chuàng)作靈感并非源于維多利亞時代的Ulster款大衣，而是來自18世紀(jì)的大衣款式，衣領(lǐng)高而硬，雙排扣前襟代替了斗篷，后背的收腰束帶設(shè)計則使衣服顯得更加大氣靈活。