走進(jìn)女王的衣櫥：英國(guó)王室禮服什么樣

It was an unusually cold March day here, which is just how royals from Henry VIII to Princess Diana would want it to preserve their wardrobes.

那是三月里英國(guó)異常寒冷的一天，不論是亨利八世還是戴安娜王妃，皇室成員們一定希望在這樣的天氣里保留自己的衣櫥。

After all, some of their belongings are among the approximately 10,000 pieces of the Royal Ceremonial Dress Collection, restored and archived in the equally chilly interiors of Hampton Court Palace in this London suburb.

畢竟，他們的一些物品位列皇家禮服收藏展(Royal Ceremonial Dress Collection)上的大約一萬(wàn)件展品之中，被復(fù)原并存放在倫敦郊外同樣冰冷的漢普頓宮(Hampton Court Palace)內(nèi)。

“We have things that relate to our palaces,” said Adam Budhram, media and public relations manager of Historic Royal Palaces, an independent charity that manages Hampton Court and five other historic sites. “It starts with a monarch and goes down strata by strata, to the servants, to livery dress. It’s a lovely thread and a nice way to tell the stories.”

“我們的物品與我們的宮殿有關(guān)，”歷史皇家宮殿(Historic Royal Palaces)媒體和公關(guān)經(jīng)理亞當(dāng)·布達(dá)拉姆(Adam Budhram)說(shuō)，這是一個(gè)負(fù)責(zé)管理漢普頓宮以及其他五個(gè)古跡的獨(dú)立慈善機(jī)構(gòu)。“從君主開(kāi)始，一級(jí)級(jí)往下，到仆人，到仆從制服。這是個(gè)很好的線索，是個(gè)講故事的好方法。”

The collection ranges from decorative hatpins to King George IV’s 1821 velvet, ermine and gold coronation robe, so heavy it requires six people to move.

藏品多種多樣，有裝飾性的女帽飾針，也有1821年喬治四世國(guó)王的天鵝絨貂皮鑲金加冕禮袍，重到需要六個(gè)人才搬得動(dòng)。

And, with another royal wedding coming up in May, it also holds a footnote of interest: a sample shoe that Raine London produced for Princess Elizabeth’s consideration as the future monarch planned her wedding attire in 1947.

而且，隨著另一場(chǎng)皇室婚禮即將在五月到來(lái)，展覽中還有一個(gè)有趣的補(bǔ)充：1947年，在這位未來(lái)的君主籌備自己的婚禮服裝時(shí)，倫敦Raine品牌為伊麗莎白公主制作的樣鞋。

At Hampton Court, Eleri Lynn, the collection’s curator, donned a coat before leading a visitor from her heated office down stony hallways, through peaked Tudor archways and past diamond-paned casement windows to one of 12 rooms devoted to archiving or conserving the collection.

在漢普頓宮，該展覽的策展人埃萊麗·林恩(Eleri Lynn)在帶領(lǐng)一名游客從她溫暖的辦公室走向冰涼的走廊之前披上了一件大衣，他們穿過(guò)尖頂?shù)亩艰I式拱門，走過(guò)鑲鉆的窗扇，朝著12間專門用于儲(chǔ)存或保護(hù)該系列展品的其中一個(gè)房間走去。

The first small room was filled with file cabinets, both vertical and horizontal, with racks mounted on the cabinet tops. Clothes that can be hung are zippered into bags made of Tyvek, a durable, synthetic paper-like material that is difficult to tear (“It’s waterproof, acid-free and dust-repellent,” Ms. Lynn said). Items that are too fragile to be hung are wrapped in acid-free tissue paper and placed in the horizontal cabinets or in large boxes.

第一個(gè)小房間裝滿了文件柜，直立和平放的都有，儲(chǔ)藏柜上方堆滿了架子?？梢詰覓斓囊路环馊肓颂匦l(wèi)強(qiáng)(Tyvek)制成的袋子中，它是一種類似紙質(zhì)的人造耐用材料，很難撕裂(“這是防水、無(wú)酸、防塵的，”林恩說(shuō))。過(guò)于易損而不能被懸掛的物品用無(wú)酸薄紙包好，放在直立的儲(chǔ)藏柜或大箱子里。

The vertical files hold prints, sketches, photographs and documents like letters and diaries related to royal garments. One drawer is filled with sketches by the designer Ian Thomas of possible outfits for Queen Elizabeth, including a green wool suit she eventually wore to horse races. On some of the sketches the queen had written “yes” or “yes, but with longer sleeves.”

直立的文件柜里有打印件、草圖、照片和文件，比如與皇家服裝有關(guān)的信件和日記。其中一個(gè)抽屜里裝滿了設(shè)計(jì)師伊恩·托馬斯(Ian Thomas)為伊麗莎白女王設(shè)計(jì)的服裝，包括她最終在賽馬會(huì)上穿的一身綠色羊毛套裝。女王在有些草圖上寫(xiě)著“可以”，或“可以，但是袖子再長(zhǎng)些”。

(While the collection does have the drawings, the queen’s shoe sample and some garments she has worn, most of her wardrobe is part of the Royal Collection, a vast holding of art, decorative pieces and clothing held by the queen as sovereign.)

(雖然這些收藏中有圖紙、女王的鞋樣以及她穿過(guò)的一些衣服，但她的大部分服裝屬于皇家收藏基金會(huì)[Royal Collection]，該基金會(huì)持有屬于女王的大量藝術(shù)品、裝飾品和服裝。)

Ms. Lynn climbed a ladder to reach a clothing rack and chose one of the Tyvek bags. Inside was a dapper mustard and brown houndstooth-checked double-breasted suit once owned by the Duke of Windsor to wear in the country.

林恩踩著梯子，夠到一層衣服架，拿出一個(gè)特衛(wèi)強(qiáng)無(wú)紡布袋。里面有一件精致的芥末綠加棕色千鳥(niǎo)格雙排扣西裝，這是溫莎公爵(Duke of Windsor)在鄉(xiāng)間穿的服裝。

“Whenever a new item comes in, I always check the pockets,” she said — and in this suit jacket she had found a dried autumn leaf.

“新衣服送來(lái)時(shí)，我總是會(huì)檢查一下口袋，”她說(shuō)。在這件西裝外套里，她找到了一片干燥的秋葉。

One could almost imagine the duke strolling the grounds of his chateau outside Paris and pocketing a leaf as a memento of a brilliant fall day. “The time in which something was worn is deeply personal,” Ms. Lynn said. “It can tell you about the person and about their strata of society.”

幾乎可以想象，公爵在自己位于巴黎郊外的城堡庭院中散步，撿起一片樹(shù)葉放進(jìn)口袋，紀(jì)念那個(gè)美麗的秋日。“在那個(gè)時(shí)候，人們的著裝非常具有個(gè)人色彩，”林恩說(shuō)，“它可以體現(xiàn)著裝者的氣質(zhì)，以及著裝者所屬的社會(huì)階層。”

Clothing, she added, often has not been cleaned when it arrives for archiving, so it may still carry the scent of perfume or wine stains from a night of revelry.

她還說(shuō)，衣服送來(lái)歸檔時(shí)通常還沒(méi)清洗，所以它可能依然帶著一夜狂歡后留下的香水味或酒痕。

Ms. Lynn was opening drawers and boxes and unfolding layers of tissue paper to reveal, say, an 18th-century courtier’s costume in ribbed silk, its jacket bordered with gaily embroidered flowers and lace cuffs. But she did not first slip her hands into white cotton gloves, as most people working in costume archives do to prevent the natural oils of their skin from harming the fabrics.

林恩打開(kāi)抽屜和盒子，揭開(kāi)一層層棉紙，露出一件件服裝，比如一套18世紀(jì)的羅紋絲綢宮廷服裝，上衣邊緣繡著華麗的花朵，袖口是蕾絲的。但她并沒(méi)有像大部分服裝檔案工作者那樣，為防止皮膚的天然油脂傷害布料而先戴上白棉手套。

“With certain fabrics it’s better not to wear gloves,” Ms. Lynn said. “If the fabric is fine or fragile, such as lace, you need to be able to be more tactile. That’s why I keep my nails short and without varnish. But for metals or metallic yarns” — which can tarnish — ”I wear gloves.”

“處理有些面料時(shí)，最好不要戴手套，”林恩說(shuō)，“如果面料精細(xì)脆弱，比如蕾絲，你需要保持敏感的觸覺(jué)。所以，我總是把指甲剪短，不涂指甲油。但如果是金屬或有金屬光澤的紗線，我會(huì)戴手套。”——否則會(huì)令面料失去光澤。

In the archives, everything is white: the floor tiles, the cabinet drawers, the boxes and the tissue. “That makes it easier to see if there is any frass,” Ms. Lynn said, the term for the tiny bits of fiber left by voracious bugs. She added that the constant battle against bugs explains why the rooms are as cold as nature and the palace’s builders allow: “Bugs and pests don’t like the cold.”

檔案館里的一切都是白色的：地磚、櫥柜抽屜、盒子和紙巾。“這樣，我們就更容易發(fā)現(xiàn)蟲(chóng)糞，”林恩說(shuō)。她指的是貪吃的蟲(chóng)子留下的細(xì)小纖維。她還說(shuō)，為了與蟲(chóng)子做長(zhǎng)期斗爭(zhēng)，宮殿的建設(shè)者們盡量讓房間里和外面一樣冷：“臭蟲(chóng)和害蟲(chóng)不喜歡寒冷。”

That also is why new items, which arrive about once a month, are wrapped in plastic as airtight as possible and placed in a freezer. “If they can’t be frozen,” Ms. Lynn said, “and many can’t because they have details that would crack in the cold, they are brought to the Isolation Room to be checked by eye thoroughly over a period of weeks, until we are satisfied that there are no pests.”

所以，當(dāng)每月一次的新品送來(lái)時(shí)，都是用塑料盡可能地密封，放在冰箱里。林恩說(shuō)，“很多衣服不能冷藏，因?yàn)樗鼈兊哪承┘?xì)部可能會(huì)在寒冷中凍裂。如果不能冷藏，它們就會(huì)被帶到隔離室，在幾周時(shí)間里用肉眼徹底檢查，直到我們確信它沒(méi)有攜帶害蟲(chóng)。”

Determining which items to add to the collection is a group decision: Ms. Lynn writes a proposal that is circulated to colleagues within the Palaces organization.

要決定在藏品中加入哪件物品是一個(gè)集體決定：林恩撰寫(xiě)提案，再分發(fā)給歷史皇家宮殿機(jī)構(gòu)內(nèi)的同事。

It doesn’t break out acquisition costs by division but, in the last fiscal year, it spent 148,000 pounds ($210,180) for additions to all its heritage collections.

它不按照部門區(qū)分收購(gòu)成本，但在上一財(cái)政年度，所有新添文物藏品的花費(fèi)為14.8萬(wàn)英鎊(約合131.8萬(wàn)人民幣)。

Also, Ms. Lynn said, many items are donated or lent long term, and auctions are another good source: Some items in the “Diana: Her Fashion Story” exhibition running through the end of the year at Kensington Palace in London were acquired at the 1997 auction that the princess held to raise money for AIDS charities.

此外，林恩表示，許多物品都是捐贈(zèng)或長(zhǎng)期租賃的，拍賣會(huì)也是個(gè)好渠道：將在倫敦肯辛頓宮展出至今年年底的“戴安娜：她的時(shí)尚故事”(Diana: Her Fashion Story)展覽上，有些物品是在王妃1997年為艾滋病慈善機(jī)構(gòu)籌集資金而舉辦的拍賣會(huì)上購(gòu)入的。

When Ms. Lynn is considering whether to acquire a piece for the collection, being able to prove the provenance is a significant element. For Diana’s clothes, it was easy: There are many photographs of the princess or, Ms. Lynn said, “I could pick up the phone to the designers who made them.”

在林恩考慮是否要將某件作品加入收藏時(shí)，能夠證明出處是一個(gè)重要因素。對(duì)于戴安娜的服飾來(lái)說(shuō)，這很簡(jiǎn)單：王妃有很多照片，或者像林恩說(shuō)的，“我可以打電話給制作這些衣服的設(shè)計(jì)師們。”

But authenticating historic items can come down to a painting, or specialists testing fabrics and dyes to date a piece. One such impossible-to-pin-down item: the Bristowe Hat, the oldest piece in the collection.

但鑒別歷史物品的真?zhèn)慰赡芤恳环?huà)作，或是讓專家對(duì)織物和染料進(jìn)行測(cè)試以確定物品的年份。布里斯托帽(Bristowe Hat)是藏品中最古老的一件，它是一件實(shí)在無(wú)法確定來(lái)源的物品。

Bristowe family stories say the flamboyant hat in tufted burgundy silk with a silver button and green ostrich-feather plume originally belonged to Henry VIII. It was the first piece that Ms. Lynn acquired when she took the curator’s job in 2013 — but no one can prove whether it was Henry’s or not.

這頂艷麗的帽子用簇絨紫紅色絲線織成，搭配著銀紐扣和綠色鴕鳥(niǎo)毛羽飾，根據(jù)布里斯托家族的傳說(shuō)，它最初屬于亨利八世。這是林恩在2013年擔(dān)任策展人后購(gòu)入的第一件物品——但沒(méi)人可以證明它是否屬于亨利八世。

Upstairs in the conservation studio, Elizabeth Thompson, the collection’s textile conservation supervisor, oversees the work of two dozen or so conservators.

在樓上的保護(hù)工作室里，該展覽的織物保護(hù)主管伊麗莎白·湯普森(Elizabeth Thompson)負(fù)責(zé)監(jiān)督大約二十多名文物保護(hù)者的工作。

On this particular day they were leaning over works to be restored, like the 1685 Mortlake tapestry, depicting a battle at sea, and an 18th-century rose silk damask bed canopy that belonged to Queen Caroline, King George II’s wife.

今天他們的工作主要是修補(bǔ)待修復(fù)物品，比如1685年描繪了一場(chǎng)海上戰(zhàn)斗的莫特萊克(Mortlake)壁毯，還有屬于喬治二世國(guó)王之妻卡洛琳王后的18世紀(jì)玫瑰色絲綢錦緞床罩。

The group uses a number of techniques, like the “laid couching” treatment to repair tears. A small piece of fabric dyed to match the original is placed behind the tear for support and then dyed threads are used to stitch everything in place.

該小組使用了比如“襯補(bǔ)法”等技術(shù)來(lái)修補(bǔ)裂痕。將一小塊和原件相襯的染色布料墊在裂痕下方以作支撐，再用染色絲線將其縫合到位。

One conservator was using small cosmetic sponges, the kind found in any drugstore, to ever-so-gently remove the tarnish on the silver-thread embroidery decorating a short, flared flamingo-pink silk evening jacket owned by Queen Victoria.

一位文物保護(hù)員使用在任何藥房都能買到的小塊化妝棉，無(wú)比輕柔地擦拭著維多利亞女王那件閃亮的火烈鳥(niǎo)粉色晚裝短外套，把銀色刺繡重新擦亮。

Such pieces are on display in “Victoria Revealed,” an exhibition at Kensington Palace, shown in the rooms where the young Victoria grew up.

這些物品均在肯辛頓宮的“維多利亞揭秘”(Victoria Revealed)展覽中展出，被展示在年輕的維多利亞成長(zhǎng)的房間中。

The palace, which is the home of the Duke and Duchess of Cambridge and their family, as well as Prince Harry and his fiancée Meghan Markle, is one of the six where the public sections are managed by Historic Royal Palaces, and it keeps a selection of about 300 pieces from the dress collection there, in central London, for easy access by scholars and researchers.

這個(gè)宮殿是劍橋公爵夫婦和家人，以及哈里王子和未婚妻梅根·馬克爾(Meghan Markle)的住所，也是由歷史皇家宮殿負(fù)責(zé)公共區(qū)域管理的六個(gè)宮殿之一。該系列約有300件藏品被放置在這個(gè)宮殿里，它位于倫敦中心，對(duì)學(xué)者和研究人員來(lái)說(shuō)非常方便。

The real showpiece of the entire collection is the Bacton Altar Cloth, a piece of fabric recovered from a Herefordshire church two years ago that is widely believed to have been part of a skirt worn by Queen Elizabeth I. If true, it would be the only piece of her wardrobe known to have survived.

整個(gè)系列的精華在于巴克頓祭壇罩(Bacton Altar Cloth)，這是兩年前在赫里福德郡一座教堂中找回的一件織物，被普遍認(rèn)為是伊麗莎白女王一世裙子的一部分。如果屬實(shí)，那將成為她的衣櫥中唯一一件已知存留的物品。

“Clothes were often repurposed and refashioned,” Ms. Thompson said, adding that the cloth of silver, which measures about 5 feet wide and 7.5 feet long, would have been worth “the cost of a house.”

“衣服經(jīng)常會(huì)被重新設(shè)計(jì)，得到新的用途，”湯普森說(shuō)，并補(bǔ)充道，這幅5英尺寬、7.5英尺長(zhǎng)的銀質(zhì)刺繡布匹大概價(jià)值“一棟房子”。

The fabric is embroidered in gold and silk threads with botanical motifs: daffodils, foxgloves and, of course, the Tudor rose. It is being restored in the conservation studio.

這件織物上用黃金和絲線繡著植物圖案：水仙花、毛地黃，當(dāng)然還有都鐸玫瑰。它正在保存工作室內(nèi)進(jìn)行修復(fù)。

So, the clothing that the great queen might have worn in these very rooms, has come home.

于是，偉大女王的衣服回家了，她可能就在這些房間里穿過(guò)它。