夏洛克·福尔摩斯：从未存在 永远流传（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·福尔摩斯：从未存在 永远流传(Sherlock Holmes: The Man Who Never Lived and Will Never Die)——这是英国伦敦博物馆正在举行的首场大型福尔摩斯展的名称。这场关于柯南·道尔(Arthur Conan Doyle)笔下虚构大侦探的展览，还向参观者还原了当时真实的伦敦城——福尔摩斯的伦敦城。本次展出的展品包括埃德加·爱伦·坡(Edgar Allan Poe)小说《莫格街谋杀案》的罕见手稿，该手稿对柯南·道尔创作出福尔摩斯这一人物起到了关键性作用。此外，一幅之前从未公开的柯南·道尔的肖像也在展品之列。而除了这些独一无二的历史宝藏，参观者们还将看到两件奇怪的现代展品：英国广播公司(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)在剧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.

对那些痴迷“卷福”和《神探夏洛克》却对其原著和维多利亚文学无感的少男少女们来说，这两件戏服的诱惑无疑是巨大的。然而，这也从另一个侧面提醒我们，从书本到荧幕，福尔摩斯一直引领着社会的时尚潮流。柯南·道尔生活的那个时代，福尔摩斯的名字和肖像被用来宣传烟斗、衬衫、茶、太妃糖甚至是漱口水。如今，《时尚先生》( Esquire)、《男人装》(FHM)、《绅士季刊》(CQ)则给读者提供了夏洛克风格的绅士范穿搭指南。本次展览回溯了夏洛克风格的发展历程，研究了夏洛克风格如何在其演变发展的过程中，依然保有鲜明的维多利亚时尚元素。伦敦博物馆还委托一家苏格兰纺织厂特制出一件福尔摩斯纪念款签名花呢大衣，并同时展出了时尚摄影师卡西亚·沃兹尼亚克(Kasia Wozniak)用1890年款便携式相机拍摄的作品。

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.”

夏洛克风格的时尚传奇源自柯南·道尔对服饰细节近乎苛刻的描摹。我们对福尔摩斯形象的认知几乎全都来自西德尼·佩吉特(Sidney Paget)的插图。他画笔下的福尔摩斯原型优雅、消瘦，影响了此后每一个福尔摩斯形象的创作。尽管柯南·道尔不常与读者交换意见，但他显然对福尔摩斯的形象有自己的理解。他曾对1899年舞台剧《夏洛克·福尔摩斯》海报中的夏克洛形象提出异议，称海报中的福尔摩斯看上去只有“约5英尺高”(1.524米)，并且“衣着邋遢”。伦敦博物馆时尚策展人蒂莫西·朗(Timothy Long)指出，柯南·道尔在书中用了很多有关时尚的“暗语”。“现代读者在读福尔摩斯时，常会忽略那些对作者同时代读者来说显而易见的线索。比如，作者描写华生穿的是晨礼服还是长礼服，其实就已经暗示了时间。”

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·道尔对福尔摩斯服装的大篇幅描述向我们展示了“一个现代英国绅士的形象——在那个时代，大衣和猎鹿帽是英国绅士衣柜里不可缺少的元素”。而因为福尔摩斯系列故事、戏剧和电影的普及，时至今日，大家想到福尔摩斯的样子，仍不感到陌生。在各种各样的版本里，福尔摩斯的形象永恒而又兼具各个时期的时代特色。佩吉特原始插图中的福尔摩斯，19世纪30年代巴兹尔·雷斯伯恩(Basil Rathbone)版的福尔摩斯，以及如今的“卷福”版福尔摩斯——这三个迄今为止最成功的福尔摩斯形象都穿着带有各自时代特点的服饰，却又都准确无误地演绎了福尔摩斯永恒的经典。

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

曾有电影海报称福尔摩斯是“披风斗士原型”。

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.

先说说福尔摩斯的大衣。小说里，福尔摩斯裹着Ulster款大衣——小领单排扣长款外套外搭长及臀部的大斗篷。柯南·道尔还提到了另一款“大衣”(也许就是同一件)以及一件“长长的灰色旅行斗篷”。随着时间的推移，这些装束赋予福尔摩斯这一人物神秘而又气派十足的超级英雄形象——1965年电影《恐怖的研究》( A Study in Terror )海报称福尔摩斯是“披风斗士的原型”(“the original caped crusader”)。雷斯伯恩(Rathbone)版福尔摩斯标志性的格子呢大衣，拥有灵活的及肘斗篷和与下颚轮廓更相称的加宽衣领，专为大荧幕重新剪裁。“卷福”的大衣则是英国品牌贝达弗(Belstaff)的成衣，其创作灵感并非源于维多利亚时代的Ulster款大衣，而是来自18世纪的大衣款式，衣领高而硬，双排扣前襟代替了斗篷，后背的收腰束带设计则使衣服显得更加大气灵活。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·道尔对福尔摩斯服装的大篇幅描述向我们展示了“一个现代英国绅士的形象——在那个时代，大衣和猎鹿帽是英国绅士衣柜里不可缺少的元素”。而因为福尔摩斯系列故事、戏剧和电影的普及，时至今日，大家想到福尔摩斯的样子，仍不感到陌生。在各种各样的版本里，福尔摩斯的形象永恒而又兼具各个时期的时代特色。佩吉特原始插图中的福尔摩斯，19世纪30年代巴兹尔·雷斯伯恩(Basil Rathbone)版的福尔摩斯，以及如今的“卷福”版福尔摩斯——这三个迄今为止最成功的福尔摩斯形象都穿着带有各自时代特点的服饰，却又都准确无误地演绎了福尔摩斯永恒的经典。

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

曾有电影海报称福尔摩斯是“披风斗士原型”。

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.

先说说福尔摩斯的大衣。小说里，福尔摩斯裹着Ulster款大衣——小领单排扣长款外套外搭长及臀部的大斗篷。柯南·道尔还提到了另一款“大衣”(也许就是同一件)以及一件“长长的灰色旅行斗篷”。随着时间的推移，这些装束赋予福尔摩斯这一人物神秘而又气派十足的超级英雄形象——1965年电影《恐怖的研究》( A Study in Terror )海报称福尔摩斯是“披风斗士的原型”(“the original caped crusader”)。雷斯伯恩(Rathbone)版福尔摩斯标志性的格子呢大衣，拥有灵活的及肘斗篷和与下颚轮廓更相称的加宽衣领，专为大荧幕重新剪裁。“卷福”的大衣则是英国品牌贝达弗(Belstaff)的成衣，其创作灵感并非源于维多利亚时代的Ulster款大衣，而是来自18世纪的大衣款式，衣领高而硬，双排扣前襟代替了斗篷，后背的收腰束带设计则使衣服显得更加大气灵活。