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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. 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。 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?！币呀?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。 |
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