女王的穿着時尚 包包裏都有些啥(上)

Her Majesty the Queen has never yielded to fashion’s whims. As royal designer Sir Norman Hartnell said rather sternly to The New York Times in 1953: “The Queen and the Queen Mother do not want to be fashion setters. That is left to other people with less important work to do.”

女王陛下從未心血來潮追逐潮流。正如皇家設計師諾曼•哈特奈爾（Norman Hartnell）在1953年同紐約時報堅決地說道：“女王和女王的母親並不想成爲時尚的引領者。那是無名之輩做的事情。”

The Queen is, in other words, above fashion. Her signature style originated at the start of her reign, and she has steadfastly refused to deviate – so no regrettable ‘70s prints or ill-judged ‘80s frills and flounces. The Queen’s style is constant and intrinsic to her identity – and although it may look effortless, it subtly sends out all the required messages. It says: unwavering authority, tact and diplomacy, and when the occasion demands it, knock-out, opulent elegance.

換句話來說，女王是凌駕於時尚之上的。她的專屬風格從她登位之時形成，至今都未曾改變——因此也就不存在什麼令人懊悔的70年代印刷或缺乏考慮的裝飾與荷邊。女王的風格一直保持着其身份的本質性烙印——儘管看起來毫無特意，但女王的風格卻着實微妙地將所有所需信息傳播了出去。女王的風格代表着這樣一些東西：不可動搖的權威，外交手腕，以及需要時的強勢與奢華的優雅。

In her book Luella’s Guide To English Style, Luella Bartley lists some tongue-in-cheek Upper Class Rules of dressing: “Nothing should look new; Impractical fashion victims will catch their death of cold; If you have to try you have lost; Tradition is all that matters; The country is where it’s at.” The Queen’s uniform represents these codes. It’s her look and she’s sticking with it – and it speaks volumes.

在盧埃拉•巴特利（Luella Bartley）的書《英國風格指南》當中，她列舉了一些帶有開玩笑性質的上層社會的穿衣準則：“不要穿看起來是新的衣服；追求不切實際的時尚只會把你凍死；如果你非要嘗試這種時尚，那麼你就會迷失自我；傳統纔是最重要的；國家要容得下才行。”女王的制服代表了這些準則。她的形象一直堅守着這些準則——並且有着崇高的話語權。

The Queen’s sartorial choices frequently set the tone. For the Obamas’ recent visit to Windsor Castle for her 90th birthday, for instance, the Queen and the Duke of Edinburgh were filmed arriving to meet their guests in the grounds of the estate – with the Duke himself at the wheel of the Range Rover. The Queen sported a light blue skirt suit – with her trademark, no-nonsense headscarf, knotted pragmatically under the chin. The understated mood was set – informal, friendly, familiar.

女王御用裁縫的選擇往往是定基調的人。例如，奧巴馬出席了在溫莎城堡舉行的女王90大壽慶典，女王和愛丁堡公爵在衆人矚目之下到達，會見各位賓客。公爵一人在路虎攬勝旁等候。女王身穿一件淡藍色裙裝——帶着她獨一無二的標籤，下巴下面結着充滿實用意味的頭巾。潛在的心情基調已被定下——非正式、友好、熟悉的氛圍。

The headscarf says unflashy, weather-proof, countryside, practical - and it has been a royal signature look since the 1940s when a young Princess Elizabeth was photographed with her sister Princess Margaret at a royal horse show, both sporting floral scarves. The look has also been adopted by the likes of Jackie Kennedy and Audrey Hepburn, and even taken on as a catwalk look in recent years by designers such as Dolce & Gabbana. In it the Queen is not just the Queen but the traditional, no-nonsense English countrywoman and grandmother, with dogs at her feet and a copy of the Racing Post tucked under her arm. That there is a touch of the ‘Brenda’ (Private Eye’s working-class nickname for the monarch) about the look only adds to its charm.

女王的頭巾並不俗麗，適合任何天氣，具有鄉村風格，而且很實用——自從20世紀40年代當年輕的伊莎貝爾公主和她的姐妹瑪格麗特公主在一次皇家馬術演出上拍下照片後就成了皇家的形象標誌，在那張照片中，伊莎貝爾和瑪格麗特都戴着帶花的圍巾。這一形象也受到傑奎琳•肯尼迪和奧黛麗•赫本的喜愛。最近這些年也被諸如杜嘉班納的設計品牌所青睞，將其採納作爲走秀的時尚元素。女王不僅僅只是代表她本身，她還代表着整個傳統，她是代表着國家的女人，是一位德高望重的祖母。在形象上與Brenda（工人階層中給女王取的綽號）的接近只會增添自身的魅力。

‘Always appropriate’

“總是得體的”

At Balmoral, the Queen goes even more off-duty in her look. From the 1950s it has remained unchanged – a tweed jacket or knitted twin-set, and a pleated Balmoral-tartan skirt. The tartan, with its granite grey, black and red hues, is personal to the royals and was created by Queen Victoria and Prince Albert after they acquired the Scottish estate. This unchanging attire of the Queen’s sends a subliminal message, not just about her character but about her class – after all, in certain circles, change, newness, trends and ostentation are somehow rather gauche, indicators of a kind of arriviste mentality.

在條紋呢制襯裙方面，女王顯得更加隨意。從上世紀五十年代開始，女王在這方面就沒什麼變化——一件花呢外套或者女式兩件套毛衣，以及一條起褶格子呢裙。花崗灰、紅色與黑色的格子呢對於皇家來說具有個人意義，這是由維多利亞女王和艾伯特王子在獲得蘇格蘭領土後創造的樣式。這一永恆不變的女王服飾傳達了一個潛在的訊息，不僅僅是有關女王的性格，還有關於其所在的階層——畢竟，在某些圈子裏，改變、新潮、趨勢以及賣弄都是一種暴發戶心理的笨拙表現。

The subtle code of 'U and Non-U' explored by Nancy Mitford in the 1950s points to the many complex indicators in English society that separate the upper and the non-upper classes. Although most of these codes now feel outdated and snobby, the notion that flashiness is not quite ‘the thing’ persists in aristocratic circles. The pitch-perfect, on-message countryside dress code is a big part of the monarch’s sartorial story.

南希•米特福德（Nancy Mitford）在20世紀50年代探究的有關“上與不上”的微妙準則時，指出了英國社會衆多複雜的用以區分上層與下層社會階級的標誌。儘管這些準則中的大多數都已過時並顯得勢利，但是奪人眼球不可取這一準則仍流行於上層社會圈。完美的並能傳達信息的鄉村服飾準則在很大程度上只是屬於君王裁縫的故事。

“The Queen is always appropriate. What appeals is the Englishness of it, a kind of classic, timeless elegance,” says Caroline de Guitaut, curator of the UK exhibition Fashioning a Reign: 90 Years of Style from the Queen’s Wardrobe. “The exhibition is about memories,” de Guitaut tells BBC Culture. “The outfits shown span the majority of the 20th Century and into the 21st Century, with many of the big occasions that were part of the Queen’s life and our lives.”

“女王總是得體的。其吸引力在於其所展現的英國氣質，那是一種古典的、永恆的優雅，”英國“時尚與統治”展覽的策展人卡羅琳•德吉託（Caroline de Guitaut）說。這一展覽囊括了女王90年生涯中所涉及的服飾風格。“這一展覽有關記憶，”德吉託表示，“展出服裝的所在時間涵括了20世紀的絕大部分時期一直到21世紀，包括了女王生命中以及我們生命中的很多重大時刻。”