夏洛克·福爾摩斯：從未存在 永遠(yuǎn)流傳（2）

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(shū)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(lái)顯得近乎女性化，但它與19世紀(jì)30年代的時(shí)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(shí)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(shū)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(dòng)。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(gè)版本中，福爾摩斯任何時(shí)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(lái)體現(xiàn)福爾摩斯對(duì)真相的追求。”盡管獵鹿帽不再是英國(guó)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(duì)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(shuō)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(lái)，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(shí)代，人體測(cè)量學(xué)(Anthropometry)是一個(gè)合法的學(xué)科。根據(jù)人體測(cè)量學(xué)，物理特征往往反映人的性格特點(diǎn)，比如福爾摩斯的高前額暗示了其強(qiáng)大的大腦，服裝也是一樣。時(shí)尚策展人朗說(shuō)：“在福爾摩斯思考辦案線索時(shí)，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(kāi)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(guò)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(duì)華生來(lái)說(shuō)很費(fèi)解，但是對(duì)于當(dāng)代時(shí)尚策展人和管理員來(lái)說(shuō)卻是眾所周知的。朗說(shuō)，“我們的方法和夏洛克很像。我們會(huì)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(shuō)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(hào);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(gè)偽裝大師，他能完美演繹多種不同的個(gè)性，從老婦人到“頭腦簡(jiǎn)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(shí)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(guò)法國(guó)侍者、英國(guó)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(kāi)，比如《基本演繹法》(Elementary)里的約翰尼·李·米勒(Jonny Lee Miller)。米勒(有點(diǎn)像小羅伯特·唐尼)結(jié)實(shí)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(jué)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(shí)髦范的劉玉玲(Lucy Liu)版華生站在一起時(shí)，更是對(duì)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(qiáng)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(shí)尚博主們的注意，也就不足為奇。