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。
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，书中的福尔摩斯还带着围巾。雷斯伯恩版福尔摩斯的彩色丝绸围巾在今天看来显得近乎女性化，但它与19世纪30年代的时尚十分协调。在盖·里奇（Guy Ritchie）的蒸汽朋克电影《夏洛克·福尔摩斯》里，小罗伯特·唐尼（Robert Downey Jr）版福尔摩斯浮华的领巾是该角色唯一显示福尔摩斯身份的装束，尽管这似乎更适合2008年的布鲁克林，而非维多利亚时代的伦敦。“卷福”的蓝灰色围巾则有衬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.
福尔摩斯的猎鹿帽是佩吉特在插画中首创的，柯南·道尔在书中从未提及，原著中只有“有耳遮的旅行帽”（“ear-flapped travelling cap”）的字句。顾名思义，猎鹿帽属于狩猎装束，适合户外活动。佩吉特画中的福尔摩斯只在乡村戴猎鹿帽，从不在伦敦戴。而在雷斯伯恩和之后的各个版本中，福尔摩斯任何时候都戴着猎鹿帽，包括在室内。展览策展人亚历克斯·沃纳（Alex Werner）提醒参观者：“福尔摩斯从不狩猎，柯南·道尔只是借狩猎这一隐喻来体现福尔摩斯对真相的追求。”尽管猎鹿帽不再是英国绅士衣柜里的必备品，但它已是福尔摩斯的标志特征。“卷福”为了躲避狗仔队而戴上猎鹿帽遮脸，结果使猎鹿帽变成了他的标志（他还被戏称为“帽子侦探”）。唐尼戴的浅顶软呢帽，则保持着他的布鲁克林风格。
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.
在福尔摩斯的绅士范穿着之下，隐藏着柯南·道尔所说的“不羁的灵魂”（ “Bohemian soul”）。忧郁的小提琴演奏，注射可卡因引起的失眠症，都从他日常的穿着中显现出来，尤其是他的睡袍。福尔摩斯的睡袍很多，从灰褐色到新潮的紫色，伦敦博物馆目前展出的驼色睡袍是《神探夏洛克》里“卷福”所穿的颜色最为黯淡的一款。
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.
福尔摩斯深知服装的力量。在维多利亚时代，人体测量学（Anthropometry）是一个合法的学科。根据人体测量学，物理特征往往反映人的性格特点，比如福尔摩斯的高前额暗示了其强大的大脑，服装也是一样。时尚策展人朗说：“在福尔摩斯思考办案线索时，服装扮演了重要角色。”不管是磨损的鞋子，还是有划痕的怀表，都逃不开福尔摩斯的火眼，衣服上最细微的细节都可能是破案的关键。福尔摩斯曾仅靠一只“非常普通的黑色帽子”就推导出完整的作案心理过程，成就了著名的“蓝宝石案”。
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.
福尔摩斯的这些方法对华生来说很费解，但是对于当代时尚策展人和管理员来说却是众所周知的。朗说，“我们的方法和夏洛克很像。我们会经常查看磨损痕迹、商标、用料类型。”受福尔摩斯故事启发，朗和一群志愿者用一些能说明穿戴者身份的线索为博物馆标记了历史服装。一双男式晚宴鞋有圆形的磨损痕迹，是跳舞的记号；一件袖子被墨水弄脏的女士衬衫让人想起了在《身份谜案》中福尔摩斯也曾用同样的方法辨认出他的客户是一名打字员。
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.
福尔摩斯可以称得是一个伪装大师，他能完美演绎多种不同的个性，从老妇人到“头脑简单的新教牧师”。朗表示，福尔摩斯所用的化妆和着装技术虽源自维多利亚时代，却从不显得夸张或奇异，相反，它们非常“符合日常生活”。在《神探夏洛克》里，“卷福”已经成功地伪装过法国侍者、英国卫兵、身着连帽衫的瘾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.
棱角分明的轮廓，鹰一样的侧脸，还有斗篷大衣——“卷福”几乎就是柯南·道尔原型人物的化身。而其他版本的福尔摩斯缺少观众认同感，与演员本身形象与原著形象有差距分不开，比如《基本演绎法》（Elementary）里的约翰尼·李·米勒（Jonny Lee Miller）。米勒（有点像小罗伯特·唐尼）结实且肌肉发达，更符合华生的形象，而非高而瘦福尔摩斯形象。此外，他的着装也有违人物原型。尽管宽松的双排扣外套在纽约的冬天里让人感觉格外温暖，红格子围巾也更能体现他本身所具有的气质，但他那永远皱巴巴的衬衣和不合身的上衣却透出浓浓的英格兰风格，尤其当他与典型纽约时髦范的刘玉玲（Lucy Liu）版华生站在一起时，更是对比鲜明。米勒的衬衫扣子总是一丝不苟地扣到下巴，体现了人物的强迫症倾向。在这种情况下，刘玉玲版华生的穿着风格能引起时尚博主们的注意，也就不足为奇。