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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(yuǎn)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。柯南·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 “l(fā)ost 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(xì)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 “l(fā)ong 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。柯南·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(dá)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。
With his Ulster, the literary Holmes wore a cravat. Rathbone’s colorful silk scarves look almost feminine today, but they harmonized with 1930s fashions (think Fred Astaire). In Guy Ritchie’s steampunk-inspired Sherlock Holmes movies, Robert Downey Jr.’s flashy ascots are the only recognizably Holmesian aspect of his costumes, even if they seem more appropriate to circa 2008 Brooklyn than Victorian London. Cumberbatch’s blue-gray scarf functions as an extension of his coat (and eyes).
除Ulster款大衣外，書中的福爾摩斯還帶著圍巾。雷斯伯恩版福爾摩斯的彩色絲綢圍巾在今天看來顯得近乎女性化，但它與19世紀(jì)30年代的時尚十分協(xié)調(diào)。在蓋·里奇（Guy Ritchie）的蒸汽朋克電影《夏洛克·福爾摩斯》里，小羅伯特·唐尼（Robert Downey Jr）版福爾摩斯浮華的領(lǐng)巾是該角色唯一顯示福爾摩斯身份的裝束，盡管這似乎更適合2008年的布魯克林，而非維多利亞時代的倫敦。“卷福”的藍(lán)灰色圍巾則有襯托大衣和眼睛的效果。
It was Paget who introduced the deerstalker, mentioned nowhere in Conan Doyle’s writings. (Holmes never uttered “Elementary, my dear Watson!” either.) As its name implies, it was a hunting garment, suitable for outdoor pursuits. Paget’s Holmes wore it in the country, never in London. However, Rathbone and subsequent Holmeses wore it everywhere, including indoors. As a trope, the deerstalker improved upon the generic “ear-flapped travelling-cap” Conan Doyle gave his hero. “Holmes never hunted,” exhibition curator Alex Werner reminds us. “But Conan Doyle used the metaphor of hunting to express Holmes’s pursuit of the truth.” Though the deerstalker is no longer a staple of the English gentleman’s wardrobe, it makes an ironic appearance in Sherlock; Cumberbatch impulsively dons one to hide his face from the paparazzi, only to have it become his trademark. (His humiliating nom de tabloid is “Hat Detective.”) Downey, however, wore a fedora, in keeping with his Brooklyn hipster interpretation.
福爾摩斯的獵鹿帽是佩吉特在插畫中首創(chuàng)的，柯南·道爾在書中從未提及，原著中只有“有耳遮的旅行帽”（“ear-flapped travelling cap”）的字句。顧名思義，獵鹿帽屬于狩獵裝束，適合戶外活動。佩吉特畫中的福爾摩斯只在鄉(xiāng)村戴獵鹿帽，從不在倫敦戴。而在雷斯伯恩和之后的各個版本中，福爾摩斯任何時候都戴著獵鹿帽，包括在室內(nèi)。展覽策展人亞歷克斯·沃納（Alex Werner）提醒參觀者：“福爾摩斯從不狩獵，柯南·道爾只是借狩獵這一隱喻來體現(xiàn)福爾摩斯對真相的追求。”盡管獵鹿帽不再是英國紳士衣柜里的必備品，但它已是福爾摩斯的標(biāo)志特征。“卷福”為了躲避狗仔隊而戴上獵鹿帽遮臉，結(jié)果使獵鹿帽變成了他的標(biāo)志（他還被戲稱為“帽子偵探”）。唐尼戴的淺頂軟呢帽，則保持著他的布魯克林風(fēng)格。
His gentlemanly dress often hid what Conan Doyle called Holmes’s “Bohemian soul.” The melancholy, violin-playing, cocaine-injecting insomniac was betrayed by his off-duty clothes, specifically his collection of dressing gowns, which ranged from “mouse-colored” to a dandyish purple. The camel version on display at the Museum of London is the most subdued of several Cumberbatch wears in the BBC series.
在福爾摩斯的紳士范穿著之下，隱藏著柯南·道爾所說的“不羈的靈魂”（ “Bohemian soul”）。憂郁的小提琴演奏，注射可卡因引起的失眠癥，都從他日常的穿著中顯現(xiàn)出來，尤其是他的睡袍。福爾摩斯的睡袍很多，從灰褐色到新潮的紫色，倫敦博物館目前展出的駝色睡袍是《神探夏洛克》里“卷福”所穿的顏色最為黯淡的一款。
Holmes was well aware of the power of clothing to reveal as well as transform. Anthropometry—a legitimate scientific discipline in the Victorian era—held that physical characteristics corresponded to character traits; Holmes’s high forehead indicated the mighty brain behind it. Clothing, by extension, could do the same—a perfectly reasonable assumption at a time when read-to-wear was in its infancy and those who could afford to still had their clothes custom-made. “Dress is a main character in the stories when it comes to providing clues for Holmes,” Long says. No scuffed shoe or scratched pocketwatch escaped his notice; the smallest sartorial detail could be the key to solving a case. He once deduced an entire psychological history from the “very ordinary black hat” that led him to the famous blue carbuncle.
福爾摩斯深知服裝的力量。在維多利亞時代，人體測量學(xué)（Anthropometry）是一個合法的學(xué)科。根據(jù)人體測量學(xué)，物理特征往往反映人的性格特點，比如福爾摩斯的高前額暗示了其強大的大腦，服裝也是一樣。時尚策展人朗說：“在福爾摩斯思考辦案線索時，服裝扮演了重要角色。”不管是磨損的鞋子，還是有劃痕的懷表，都逃不開福爾摩斯的火眼，衣服上最細(xì)微的細(xì)節(jié)都可能是破案的關(guān)鍵。福爾摩斯曾僅靠一只“非常普通的黑色帽子”就推導(dǎo)出完整的作案心理過程，成就了著名的“藍(lán)寶石案”。
Holmes’s methods—baffling to Watson—are well known to modern-day costume curators and conservators. “We are quite Sherlockian in our approach,” Long says. “We regularly look at wear marks, labels, and types of materials.” Inspired by the Holmes stories, Long and “an army of volunteers” scoured the museum’s archives for historical garments with tell-tale clues to the wearer’s identity. A pair of men’s evening shoes on display has circular wear marks on the soles, suggestive of dancing; a woman’s blouse with ink-stained sleeves recalls the one that helped Holmes identify his client as a typist in A Case of Identity.
福爾摩斯的這些方法對華生來說很費解，但是對于當(dāng)代時尚策展人和管理員來說卻是眾所周知的。朗說，“我們的方法和夏洛克很像。我們會經(jīng)常查看磨損痕跡、商標(biāo)、用料類型。”受福爾摩斯故事啟發(fā)，朗和一群志愿者用一些能說明穿戴者身份的線索為博物館標(biāo)記了歷史服裝。一雙男式晚宴鞋有圓形的磨損痕跡，是跳舞的記號；一件袖子被墨水弄臟的女士襯衫讓人想起了在《身份謎案》中福爾摩斯也曾用同樣的方法辨認(rèn)出他的客戶是一名打字員。
A master of disguise, Holmes had an arsenal of unlikely alter egos, from an old lady to a “simple-minded Nonconformist clergyman.” Long notes that although Holmes’s borrowed makeup and wardrobe techniques from the Victorian stage, his disguises were not particularly theatrical or exotic, but “the disguises of the everyday.” In Sherlock, Cumberbatch has convincingly posed as a French waiter, a Guardsman, a hoodie-clad heroin addict, and a Pakistani terrorist.
福爾摩斯可以稱得是一個偽裝大師，他能完美演繹多種不同的個性，從老婦人到“頭腦簡單的新教牧師”。朗表示，福爾摩斯所用的化妝和著裝技術(shù)雖源自維多利亞時代，卻從不顯得夸張或奇異，相反，它們非常“符合日常生活”。在《神探夏洛克》里，“卷福”已經(jīng)成功地偽裝過法國侍者、英國衛(wèi)兵、身著連帽衫的癮君子以及巴基斯坦恐怖分子。
But Cumberbatch’s greatest disappearing act is his effortless embodiment of Conan Doyle’s archetypal character: the angular silhouette, the hawk-like profile, the cape-like coat. A distinct lack of physical resemblance may be why the other modern-day TV Holmes, Elementary’s Jonny Lee Miller, has struggled to connect with viewers. Miller (like Downey) is more of a Watson than a Sherlock—compact and muscular rather than tall and lanky. It follows, then, that his clothes also break the mold. A floppy coat would not just envelop but swamp him; instead, a double-breasted pea coat provides warmth in the New York winters, while a red tartan scarf provides what little sartorial panache he possesses. But his endless supply of rumpled vests and ill-fitting blazers convey his Englishness—especially next to Lucy Liu’s quintessentially chic New Yorker of a Watson—while his habit of buttoning his shirts up to the chin telegraphs the character’s OCD tendencies. In this case, however, there’s no mystery why it’s Liu’s Watson wardrobe that has inspired style bloggers.
棱角分明的輪廓，鷹一樣的側(cè)臉，還有斗篷大衣——“卷福”幾乎就是柯南·道爾原型人物的化身。而其他版本的福爾摩斯缺少觀眾認(rèn)同感，與演員本身形象與原著形象有差距分不開，比如《基本演繹法》（Elementary）里的約翰尼·李·米勒（Jonny Lee Miller）。米勒（有點像小羅伯特·唐尼）結(jié)實且肌肉發(fā)達(dá)，更符合華生的形象，而非高而瘦福爾摩斯形象。此外，他的著裝也有違人物原型。盡管寬松的雙排扣外套在紐約的冬天里讓人感覺格外溫暖，紅格子圍巾也更能體現(xiàn)他本身所具有的氣質(zhì)，但他那永遠(yuǎn)皺巴巴的襯衣和不合身的上衣卻透出濃濃的英格蘭風(fēng)格，尤其當(dāng)他與典型紐約時髦范的劉玉玲（Lucy Liu）版華生站在一起時，更是對比鮮明。米勒的襯衫扣子總是一絲不茍地扣到下巴，體現(xiàn)了人物的強迫癥傾向。在這種情況下，劉玉玲版華生的穿著風(fēng)格能引起時尚博主們的注意，也就不足為奇。
