好英语网伊丽莎白女王：一部视觉词典
Over her seven decades on the throne, Queen Elizabeth II understood the power of visuals. The first British monarch to have a televised coronation, she watched the world turn its attention from the radio to the TV set, and by the time she died this month at 96, having celebrated her Platinum Jubilee just a few months earlier, she — well, the royal family — had an Instagram account and a YouTube channel.
在位70年里，女王伊丽莎白二世非常清楚视觉的力量。她是首位加冕典礼经电视转播的英国君主，也亲眼目睹了全世界将注意力从收音机转向了电视，到她本月以96岁高龄去世时——几个月前刚刚庆祝了白金禧庆典，她（也就是王室）拥有着一个Instagram帐号和一个YouTube频道。
As she presided over a shrinking empire, projecting stability and continuity was arguably her most essential job as sovereign. From her hairstyle to her handbags, her kerchiefs to her corgis, her pearls to her profile, every visual signifier was a means of communication for a monarch who famously had little to say — at least in public. Here’s a look at the symbols Elizabeth leveraged during her historic reign, and what she used them to say.
在掌管一个不断缩小的帝国期间，她作为君主最为重要的工作，就是展示稳定性和连续性。从发型到手袋，从头巾到柯基犬，从珍珠首饰到肖像画，对于一位以少言寡语（至少在公开场合如此）出名的君主来说，每一个视觉符号都是她与外界的沟通方式。下面我们就来看看伊丽莎白女王在她历史性的统治期间利用过的符号，以及她通过这些符合所表达的内容。
HER HAIR
发型
The Crown Beneath the Crown
王冠之下
Elizabeth was nothing if not steadfast in her devotion to her country and the style in which she chose to express it, but of all the consistent imagery she created throughout her long life, her carefully sculpted hairstyle might have been the most reliable of all.
在对国家的忠诚和选择相关造型的表达方式方面，伊丽莎白女王都是无比坚定的，但在其漫长一生中创造出的所有始终如一的形象中，线条清晰的发型或许是最为持久不变的。
From the time she was a girl pictured in black and white on the lawn through her stint in the Auxiliary Territorial Service and then her marriage, coronation and 70 years of rule, through decades of bobs, bouffants, hippie hair and helmet heads, it never really changed: an inch or two shorter or longer here, maybe; slightly more bouffant there; allowed to go white in the 1990s, sure. But otherwise her ’do — chin-length, brushed back at the crown, set in soft curls at either temple and framing her jawline — was the visual equivalent of death and taxes: a rock of reliability in an uncertain world. And like so much about the queen, it was a highly considered choice.
从黑白照片里草坪上的少女时期，到加入领土辅助服务队，再到结婚、加冕和70年的统治，数十年时间里她经历了波波头、蓬松发型、嬉皮发型到头盔式齐耳短发的风潮变化，但女王的头发造型从未有过大的变动，最多也就这里留长或剪短一两英寸，那里再蓬松一些。到了1990年代多了白发。但除此之外，她那长及下巴、头顶的头发向后梳、太阳穴旁边有卷发、勾勒出下颌线的发型——这个视觉形象与死亡和缴税一样，都是一个不确定世界里的可靠磐石。与女王的许多事情一样，这款发型也是一个经过仔细考量的选择。
Perfectly and deliberately symmetrical, so that she looked the same from either side and in every portrait; molded to fit snugly under a crown or one of her many hats and scarves, her coif was tended to for over two decades by hairdresser Ian Carmichael, who visited Buckingham Palace or Windsor Castle twice a week until the coronavirus pandemic (when Angela Kelly, the queen’s personal assistant and senior dresser, took over) to make sure there was not a strand out of place. That was just how she rolled.
发型完美并刻意对称，如此一来，在每一幅肖像中，不管你从哪个方向看，她都是一样的。这个造型也很适合戴王冠，以及她众多的帽子和头巾。20多年来，她的发型一直由伊恩·卡迈克尔负责，后者一周两次前往白金汉宫或温莎城堡，把一切打理得井井有条，直到新冠大流行的到来（当时女王的私人助理兼高级造型师安吉拉·凯利接管了这项任务）。关于她的发型部分，就是这样一个情况。
— Vanessa Friedman
——凡妮莎·弗里德曼
HER HANDBAGS
手袋
‘She Never Felt Dressed Without Her Bag’
“拿了手袋，她才觉得自己穿戴整齐了”
“She told me she never felt dressed without her bag,” Gerald Bodmer said of Elizabeth.
“她告诉我，拿了手袋，她才觉得自己穿戴整齐了，”谈到伊丽莎白女王时，杰拉德·博德默说道。
Bodmer, 90, is the CEO of Launer, a British manufacturer of luxury leather goods favored by the queen for her most ever-present accessories: her handbags. (According to Town & Country, her first Launer bag was a gift from her mother decades ago.)
现年90岁的博德默是英国奢侈皮具制造商Launer的CEO，这个品牌备受女王青睐，是因为一个她始终少不了的配饰：手袋。（根据《城乡》杂志报道，女王的第一个Launer手袋是数十年前母亲送她的礼物。）
The bags were sturdy, unflashy and constant to an almost metaphorical degree. One of her favorites, Bodmer said, was the Traviata, a trapezoidal bag made of suede-lined calfskin with a single top strap; the queen sported it in both black leather and the slightly more fanciful black patent leather. It retails for about $2,800. She crashed the Launer website after carrying a cream-colored Lisa — a boxier handbag with two straps — at the 2011 wedding of William and Catherine, now the Prince and Princess of Wales.
这些手袋结实，一点也不花哨，而且变化之少，到了几近成为一种象征的程度。博德默说，女王最为喜爱的其中一个款式是Traviata，这是一款小牛皮的梯形手袋，内里为山羊皮，带提手。女王还拎过黑色皮革和略花哨的黑色漆皮款。这款包零售价约为2800美元（约合2万元人民币）。2011年威廉王子和凯瑟琳的大婚现场（如今的威尔士亲王和王妃），女王拎了一款名为“Lisa”的米色手袋后，导致Launer的官网崩溃。
— Madison Malone Kircher
——麦迪逊·马龙·基尔舍
HER GLOVES
手套
A Physical Barrier Between Sovereign and Subject
君主与臣民之间的一道物理障碍
Elizabeth was known for her restraint. She rarely showed excitement or worry (“Keep calm and carry on,” etc.). She also rarely showed her hands.
伊丽莎白女王以克制著称。她很少表现出兴奋或担忧之情（“保持冷静，继续前进”等等）。她也很少露出自己的双手。
The queen almost always wore gloves in public, whether white dress gloves or black leather ones. She waved from balconies and carriages in them, and shook hands in private receiving lines and at public walkabouts with fully sheathed fingers.
女王在公众场合几乎一直戴着手套，无论是白色礼服手套还是黑色皮质手套。从阳台上和马车里向人们挥手时，她戴着手套；无论是在闭门列队迎客还是现身公开场合跟人握手时，她的手也都被完全包裹着。
“Gloves were a physical barrier between the queen and her subjects,” said Elizabeth Holmes, a journalist who has written widely about the royals. “They projected a certain separation between a monarch and the people.”
“手套是女王与其臣民之间的一道物理障碍，”一直报道王室新闻的记者伊丽莎白·霍尔姆斯说。“手套展现出的是一种君主与人民之间的区隔。”
Amid a pandemic, it doesn’t seem like the worst idea, particularly when part of your job is to extend your hand to strangers so they can curtsy to you. But her gloves weren’t just a modern practicality — they were a commitment to the past, according to Tina Brown, author of “The Palace Papers.”
大流行期间，这似乎并不算是最糟糕的主意，尤其当你的职责之一就是将手伸向陌生人，让他们向你行屈膝礼。但《王室文件》(The Palace Papers)一书的作者蒂娜·布朗说，她戴手套并不仅是出于现代的实用性，它们还是对过去的坚持。
“The queen came from an era where gloves were the norm, and they added a formal finish to everything she wore,” Brown said.
“女王出身于一个戴手套十分普遍的时代，这些手套也给她的穿戴打扮增添了一种正式感，”布朗说。
— Katherine Rosman
——凯瑟琳·罗斯曼
HER PEARLS
珍珠饰品
Her Signature Necklace (Give or Take a Strand)
她标志性的项链（每次戴的项链层数略有不同）
Long before there was Instagram, there was Elizabeth, keeping a careful eye and a (usually) steady grip on the brand of her ancestors’ startup, the Firm. She was, essentially, its chief influencer, and she seemed to know that consistent visuals were vital to building a brand identity.
早在Instagram出现之前，就有了伊丽莎白女王，她对祖辈创办的“公司”保持着密切关注，而且（通常来说）牢牢地控制着它。本质上讲，她就是王室这个“公司”的首席网红，而且她似乎也很清楚连贯一致的视觉形象对建立品牌形象至关重要。
One item that could reliably be seen framing the lower portion of an Elizabeth close-up (no filter necessary) was a pearl necklace — sometimes a double strand, but usually a triple. In portraits, on official state visits, after services at Westminster Abbey, the pearls were there: formal but not fancy, lustrous in glow but not ostentatious in sparkle.
在伊丽莎白女王大头照（无需滤镜）的下半部分，人们经常能看到一串珍珠项链（偶尔是两层，但通常是三层）。在肖像照里、在官方国事访问中，还有在威斯敏斯特大教堂的宗教仪式之后，人们都能看到她佩戴着这些珍珠项链：正式但不华丽，散发着柔光但并不会闪闪发亮显得招摇。
When members of the royal family traveled to Buckingham Palace last week to receive the queen’s coffin as it arrived from Scotland, pearls emerged as an item of poignant homage. Cameras captured Catherine riding in a car toward the palace with a sad, tired gaze cast out the window and a triple-strand pearl necklace draped below her neck.
当王室家庭的成员上周前往白金汉宫，迎接从苏格兰送来的女王棺木时，珍珠也成为了让人感慨的致敬之物。镜头捕捉到凯瑟琳坐在前往白金汉宫的车里，目光哀伤、疲惫，望向窗外，脖子上挂着的正是一串三层珍珠项链。
According to Holmes, author of “HRH: So Many Thoughts on Royal Style,” pearls are a way for anyone to honor the queen.
《女王陛下：王室风格的多种思考》(HRH: So Many Thoughts on Royal Style)一书的作者霍尔姆斯说，珍珠是大家纪念女王的一种方式。
“The pearls don’t have to be real, they don’t have to be expensive — you can do it, too,” she said. “I think we will see more of it.”
“珍珠不一定要是真的，也不用很贵——你也可以戴，”她说。“我认为未来会看到更多。”
— Katherine Rosman
——凯瑟琳·罗斯曼
HER LAND ROVERS
路虎
My Other Car Is a Gold State Coach
我的另一辆车是黄金马车
Peering over the wheel of a Land Rover, perhaps the make most closely associated with her reign, the queen offered a master class in loyalty to a quintessentially British brand as well as the occasional glimpse, through an untinted window, of her moments of independence.
路虎或许是与女王在位期间关系最为紧密的一款车了，坐在路虎的方向盘后面朝前望去，女王让人们看到了对一个经典英国品牌的大师级忠诚度是什么样子。而透过没有贴膜的车窗，偶尔也能让人一窥女王的那些独立时刻。
While the queen’s official duties often kept her in prim pumps in the rear seat of a Daimler limousine, in her personal life she charted her own rugged excursions around the Sandringham and Balmoral estates from the driver’s seat of a Land Rover Defender. The boxy utility vehicles, which have four-wheel drive and the ground clearance to crawl over rocks and ford streams, matched the unfussy capability of a monarch who trained in driving and maintaining military vehicles with the Auxiliary Territorial Service at the end of World War II.
虽然女王的官方职务之故，她经常需要穿着正式的高跟皮鞋坐在戴姆勒豪华轿车后座上，但私下，她会自己驾驶着路虎卫士，在桑德灵厄姆宫和巴尔莫勒尔庄园周边的崎岖环境里奔驰。这款四四方方多用途车的四轮驱动和离地净高，使得它可以爬上岩石，涉过溪流，与这位曾于“二战”尾声在领土辅助服务队接受驾驶和维修军车训练、不拘小节的君主相得益彰。
— Callie Holtermann
——凯莉·霍尔特曼
HER CORGIS
柯基犬
‘They Humanized Her’
“它们让她显得有人情味”
When Clay Bennett, a Pulitzer Prize-winning editorial cartoonist for The Chattanooga Times Free Press, was brainstorming ideas for how best to address and mark the death of Elizabeth, he initially considered drawing her gloves or a fancy hat. Then he settled on the one characteristic that he felt most connected him to the monarch: a shared love of dogs. In the queen’s case, a love of her corgis, specifically.
克莱·班内特是一名曾获普利策奖的社论漫画家，在为《查塔努加时报》构思如何最好地表现和纪念伊丽莎白女王的逝世时，他最初考虑的是描绘她的手套或一顶华丽的帽子，后来选定了一个他觉得自己与这位君主最有共鸣的特质：对狗的喜爱。对女王来说，就是她对柯基犬的喜爱。
In a heart-rending image that was widely shared on social media and international television, Bennett drew an unattended corgi — the end of its leash fallen to the ground — with the dog’s neck turned, looking for its person. The caption reads simply, “Queen Elizabeth II 1926-2022.”
这是一张看了令人心碎的作品，班内特画了一只无人看管的柯基犬——牵引绳的末端掉落地上——柯基犬转头在寻找主人。漫画配文只有“伊丽莎白二世女王，1926—2022”几个字。这张画在社交媒体上和世界各地广为传播。
“I wanted to draw a corgi as a symbol of the U.K.,” Bennett said in an interview.
“我想画一只作为英国标志的柯基犬，”班内特接受采访时说。
Elizabeth was an 18-year-old princess when she received her first beloved corgi, Susan, the progenitor of all her corgis (and dorgis, after a dachshund made its way into the lineage) to come. In the years and decades since, the queen was frequently photographed walking the grounds of one castle or another with her corgis, the most loyal of her loyal subjects.
当伊丽莎白拥有第一只心爱的柯基犬苏珊时，她还是一位年方18岁的公主，苏珊孕育了女王后来所有的柯基（在一只腊肠混入这一血统后，她也诞下了混种犬）。在那之后的数十年，女王经常被拍到在某个城堡中与柯基犬散步，它们是她那些忠诚的臣民中最为忠心耿耿的成员。
“They humanized her,” said Holmes, who has also written for The New York Times. “But they also allowed her to be human.”
“它们让她显得有人情味，”同时为《纽约时报》撰稿的霍尔姆斯说道，“也让她血肉丰满起来。”
— Katherine Rosman
——凯瑟琳·罗斯曼
HER WALKING STICKS
拐杖
An Emblem of ‘Strength, and Not Frailty’
“力量、而非虚弱”的象征
Last year, while attending a service at Westminster Abbey, Elizabeth used a walking stick publicly for the first time in 17 years. (She was last seen using a walking stick after having knee surgery in 2003.)
去年，在参加威斯敏斯特大教堂的礼拜仪式时，伊丽莎白女王17年来首次使用了拐杖。（上一次人们看到她使用拐杖，还是2003年做了膝盖手术之后。）
From then on, a walking stick regularly made an appearance in the monarch’s hand.
从那以后，拐杖时常出现在这位君主手中。
Among the most recognizable were one that belonged to her husband, Prince Philip, and another that was a gift from the British army in honor of her Platinum Jubilee.
其中辨识度最高的，一根是曾属于她丈夫菲利普亲王的拐杖，另一根则是英国军队为纪念女王白金禧送给她的礼物。
“It was quite a plain, simple type of stick, but sometimes the simple ones are the most elegant,” said Dennis Wall of Ulverston, England, a former hobbyist whose handmade stick was selected from among nine others commissioned by the army for the queen.
“那是一根平平无奇、样式简单的拐杖，但有时候最简单的式样也是最优雅的，”英国阿尔弗斯顿的丹尼斯·沃尔说，他以前是一名拐杖爱好者，英国军队找人为女王制作了九根拐杖，最后他做的拐杖被选中送给女王。
In addition to representing the queen’s dedication to her responsibilities as head of the Church of England and the British Armed Forces, the sticks were also symbols of her staying power, said Erin Delaney, a professor at the Northwestern Pritzker School of Law who researches the British Constitution.
西北普利兹克法学院教授、研究英国宪法的伊林·德兰尼说，拐杖除了代表女王对其身为英国国教最高领袖及英国海陆空三军统帅的职责的投入，也是她持久力的象征。
“There is something about fidelity, and that kind of long service and relationship, that speaks to strength, and not frailty,” she said.
“有一种尽职尽责的感觉，还有那种长期的服务和关系，这表现出来的是力量，而非虚弱，”她说。
— Isabella Paoletto
——伊莎贝拉·保莱托
HER BROOCHES
胸针
‘Her Choice of Brooch Was Never Random’
“她对胸针的选择绝非随意”
In the early 1950s, when the queen acceded to the throne, brooches were a fashionable piece of jewelry that became a part of her formula for dressing.
50年代早期女王即位时，胸针是一种时髦的珠宝，它成为了其穿衣风格的一部分。
“It was always in the same position above the heart,” said Marion Fasel, a jewelry historian.
“胸针永远在心脏上方的同一个位置，”珠宝历史学家马里恩·法赛尔说。
And although they’ve “pretty much fallen out of favor,” Fasel said, the queen was certainly no trend follower, as brooches remained a fixture of her wardrobe for decades.
尽管胸针“已不再流行”，法赛尔说，女王却并不追随潮流，数十年来胸针仍然是她着装的一个固定部分。
There is a story behind how each brooch in her extensive collection came into the queen’s possession, and she wore each one with intention.
在女王庞大的胸针收藏中，每枚胸针是如何得来的背后都有一个故事，她佩戴的每枚胸针都有深意。
“Her choice of brooch was never random,” said Bethan Holt, author of “The Queen: 70 Years of Majestic Style.” “They would be selected for the added meaning they would bring to the moment.”
“她对胸针的选择绝非随意，”《女王：70年的庄严风格》(The Queen: 70 Years of Majestic Style)一书的作者贝斯安·霍特说，“它们会被选中，是因其能给那一刻增添意义。”
— Sadiba Hasan
——塞迪巴·哈桑
HER PALETTE
缤纷色彩
A Rainbow Reign
彩虹色当政
Nothing that the queen wore was a mistake. Everything was forensically and meticulously planned according to occasion, duty, hosts, guests, custom and formality — including her bold choice of color palette.
女王的穿戴没有任何地方存在失误。一切都是根据场合、职责、主人、宾客、习俗和礼节精心计划的——包括她对色调的大胆选择。
“She wore bright colors because she believed it was her duty to be seen by the people who waited, wet and cold, behind barriers for hours at a time,” wrote Sali Hughes, author of “Our Rainbow Queen,” a book divided into color-blocked chapters that chart the assorted hues Elizabeth would wear from head to toe, allowing her to stand out in a crowd.
“每次人们都会一直站在障碍物后面，在又冷又湿的天气里等待好几个小时，她之所以身穿明亮的颜色，是因为她认为让人们能看见她是她的责任，”《我们的彩虹女王》(Our Rainbow Queen)的作者萨里·休斯说，这本书以不同颜色为章节，记录了伊丽莎白女王从头到脚穿戴的各种色调，而这些色彩让她在人群中显得突出。
And so over the seven decades of her rule, there she was, come rain or shine. Visiting a school or a hospital or a world leader, sporting tailored coats, dresses and skirt suits (never trousers) in lemon yellows and letterbox reds, dusky pinks and royal purples and — famously, for her 90th birthday — a deliciously vivid neon green. Kelly, the queen’s senior dresser, explained in 2019 that given Britain’s regular showers, the queen even had a collection of clear umbrellas with a range of different color trims to match her outfits. After all, when it came to her wardrobe, nothing was left to chance — or dictated by passing trends.
于是，在她统治的70年里，无论风雨，她都是如此。不管是访问学校、医院，还是与世界领导人会面，她都身穿柠檬黄、邮筒红、暗粉色和皇家紫色的定制大衣、裙子或西装裙套装（她从不穿长裤）。其中最为著名的是她90岁生日时所穿的色彩鲜美的荧光绿。女王的高级造型师凯利在2019年解释过，鉴于英国经常下雨，女王甚至拥有一系列各种颜色镶边的透明雨伞，为的就是搭配她的服装。毕竟，涉及女王的服装，什么都不能冒险，也不能由过时的潮流来决定。
“The queen and queen mother do not want to be fashion setters,” said Norman Hartnell, the British couturier who designed the queen’s coronation gown. “That’s left to other people with less important work to do.”
“女王和王太后不想成为时尚的引领者，”曾为女王设计加冕礼服的英国女装设计师诺曼·哈特内尔说。“那是留给其他那些工作没有那么重要的人去做的事情。”
— Elizabeth Paton
——伊丽莎白·佩顿
HER LIKENESS
肖像
For 70 Years, Seen, and Believed
70年，被看见，被相信
For all the queen’s carefully chosen totems of power, it was perhaps one she couldn’t choose — her face — that bonded her most deeply with her public. And she knew it.
在女王所有精心挑选的权力图腾中，有一个可能是她无法选择的，那就是她的面孔——把她与民众紧密联系在一起。她也深知这一点。
“I have to be seen to be believed,” the queen reportedly said, recognizing that her image itself was currency — and not just on currency, as she became the first monarch to appear on British bank notes, in 1960.
“我需要被人民看见，才能被相信，”据报道，女王曾这么说。她意识到自己的形象本身就是货币，而不只是印在货币上的头像。1960年，她成为了首个出现在英国货币上的君主。
The stoic three-quarter portrait precipitated a series of updated likenesses throughout the years, featuring nearly identical angling but with a gradually pronounced smile. (The last portrait, still in use, was created for the 1990 5-pound note by Roger Withington, when the queen was 64.)
多年来，形象坚韧的四分之三侧面肖像累积了一系列的更新，其中角度几乎一致，但笑容日渐明显。（最后一张肖像目前仍在使用中，是由罗杰·威辛顿在女王64岁时为1990年的5镑纸币创作。）
The first stamp bearing the queen’s image, based on her first official portraits, by photographer Dorothy Wilding, was issued in 1952, but it is her left-facing profile by Arnold Machin that has remained frozen in time since its release June 5, 1967.
第一批印有女王形象的邮票于1952年发行，是以女王首个官方肖像为基础创造的，当时由摄影师多萝西·维尔丁拍摄。但是阿诺德·马金为女王拍摄的面向左侧的肖像照自1967年6月5日邮票发行以来，一直冻结在了时光里。
“It is thought that this design is the most reproduced work of art in history,” according to Buckingham Palace, with over 200 billion copies made.
“有观点认为，这是历史上复制最多的艺术品，”据白金汉宫表示，该邮票印制了超过2亿张。
— Jeremy Allen
——杰尔米·艾伦