How the Queen became a style icon
從舞會(huì)禮服到巴伯爾（英國奢侈品牌，是英國皇家御用風(fēng)衣品牌），為什么女王陛下不斷發(fā)展的著裝品味是皇家形象塑造的大師班（大師級(jí)作品）。黛西·伍德沃德（Daisy Woodward）回顧了一段與眾不同的時(shí)尚之旅。
From ballgowns to Barbours, why Her Majesty’s evolving dress sense is a masterclass in royal image making. Daisy Woodward looks back at a fashion journey like no other.
在她登基的70年里，女王見證了巨大的社會(huì)變革，不可思議的科技突破，以及——不可避免地——無數(shù)時(shí)尚潮流的出現(xiàn)、衰落和重新出現(xiàn)。
In her 70 years on the throne, the Queen has witnessed huge social change, previously unthinkable scientific and technological breakthroughs, and – inevitably – the emergence, decline and re-emergence of countless fashion trends.
其中一些是她幫助激發(fā)了靈感：可以說，女王陛下在霓虹綠色（熒光綠）的先鋒地位上打敗了Billie Eilish（碧梨，美國歌手，喜愛熒光綠，最出眾的形象是熒光綠的發(fā)色），推廣了Gucci的馬銜扣樂福鞋，并為英國鄉(xiāng)村時(shí)尚樹立了終極標(biāo)準(zhǔn)。
Some of these she has helped spark: it could be argued that Her Majesty pipped Billie Eilish to the post in the pioneering of neon green, popularised the Gucci horse-bit loafer, and set the ultimate standard for British countryside chic.
其他的，比如克里斯蒂安·迪奧（Christian Dior）倡導(dǎo)的1950年代精致的新面貌，或1970年代的波普風(fēng)，她全心全意地接受。但是，在大多數(shù)情況下，她已經(jīng)在許多顧問，造型師和設(shè)計(jì)師的幫助下，塑造了自己的獨(dú)特視覺身份。
Others, like the refined New Look of the 1950s championed by Christian Dior or the bold prints of the 1970s, she has wholeheartedly embraced. But, for the most part, she has carved out her own, singular visual identity, aided by a host of advisors, stylists and designers.
如今，女王的著裝以單色和同色系的帽子為典型搭配的基礎(chǔ)，配飾包括絲巾、珍珠和富爾頓雨傘，手套、胸針和她心愛的方形手袋。
Today, monochromatic co-ords and matching hats form the basis of the Queen’s quintessential ensembles, with accessories spanning silk scarves, pearls and Fulton umbrellas, through gloves, brooches and her beloved boxy handbags.
她的前私人秘書羅賓·詹夫林（Robin Janvrin）在接受BBC文化頻道采訪時(shí)表示，“我一直被女王非常實(shí)用的穿著方式所打動(dòng)。她穿著得體而突出，讓人們可以看到她 – 鮮艷的顏色和帽子，手套很有用，可以在外出時(shí)隨時(shí)接住人們遞給她的各種東西。
Robin Janvrin, her former Private Secretary, tells BBC Culture, “I have always been struck by the Queen’s very practical approach to what she wears. She dresses to stand out so that people can see her – bright colours and a hat, with gloves useful when being handed all sorts of things on walkabouts.”
The tuxedo-lapel detail on this gown by Norman Hartnell, worn by the Queen in 1952, was daring for the time
上圖：由諾曼·哈特內(nèi)爾（Norman Hartnell）設(shè)計(jì)的，女王于1952年穿的這件禮服上的燕尾服翻領(lǐng)細(xì)節(jié)在當(dāng)時(shí)是大膽的（圖片來源：Getty Images）
20 世紀(jì) 50 年代 1950s
20世紀(jì)50年代是女王最關(guān)注潮流的十年。作為一名25歲的新晉君主，在她的首席設(shè)計(jì)師Norman Hartnell和Hardy Amies的幫助下，她接受了戰(zhàn)后時(shí)代的風(fēng)格，推動(dòng)了英國時(shí)尚的發(fā)展并在此過程中獲得了自己的時(shí)尚偶像地位。“在世界主要由男性主宰的時(shí)代，她登上了全球舞臺(tái)，看到她保持著耀眼的女性氣質(zhì)真是賞心悅目，” Holmes說。
The 1950s was the Queen’s most trend-centric decade. As a 25-year-old, newly crowned monarch, she embraced the glamour of the post-war era, promoting British fashion and garnering her own style-icon status along the way, with help from her principal couturiers Norman Hartnell and Hardy Amies. “She took to the global stage at a time when the world was largely run by men, and to see her hold on to her razzle-dazzle femininity was just delightful,” says Holmes.
就在登基幾個(gè)月后，伊麗莎白二世身著這件諾曼·哈特內(nèi)爾的黑白禮服，搭配長(zhǎng)長(zhǎng)的白手套和精致的頭飾，出席了萊斯特廣場(chǎng)帝國劇院的一個(gè)特別的電影放映會(huì)，引起了特別的轟動(dòng)?！?/p>
Just months after ascending the throne, Elizabeth II wore this sweeping black-and-white Norman Hartnell gown, paired with long white gloves and a dainty tiara, to a special film screening at Leicester Square’s Empire Theatre, causing a particular stir. “
乍一看，這是一件漂亮，非常傳統(tǒng)的舞會(huì)禮服，這是你在大型晚會(huì)上所期望的，”新出版的《女王：70年的雄偉風(fēng)格》一書的作者Bethan Holt接受BBC文化頻道采訪時(shí)表示，“但后來你注意到它的男裝細(xì)節(jié)- 一個(gè)燕尾服翻領(lǐng)在頂部。哈特內(nèi)爾和女王表明他們不怕發(fā)表時(shí)尚宣言。第二天，所謂的“喜鵲禮服”成為頭條新聞，催生了大量復(fù)制和DIY圖案。
At first glance, it’s a beautiful, very traditional ball gown, which is what you’d expect at a big gala performance,” Bethan Holt, author of newly published book The Queen: 70 Years of Majestic Style, tells BBC Culture. “But then you notice its menswear detailing – a tuxedo-lapel finish at the top. Hartnell and the Queen are showing they’re not afraid to make a fashion statement.” The next day the so-called “Magpie dress” was headline news, spawning multiple copies and DIY patterns.
In 1961 the monarch hosted the Kennedys at Buckingham Palace wearing a pale-blue tulle gown
上圖：1961年，這位君主穿著淡藍(lán)色的薄紗禮服在白金漢宮接待了肯尼迪一家——這次會(huì)面被改編成了電視劇《王冠》（圖片來源：Getty Images）
20世紀(jì) 60 年代 1960s
20世紀(jì)60年代初，女王保持著對(duì)活力的喜好。1961年，當(dāng)她在白金漢宮接待肯尼迪一家時(shí)，女王穿著一件淡藍(lán)色的晚禮服，褶邊薄紗 – 這是哈特內(nèi)爾的標(biāo)志 – 而第一夫人則選擇了一件時(shí)髦的柱形連衣裙，更加時(shí)尚。
The early 1960s saw the Queen retain her penchant for pizzazz. When, in 1961, she hosted the Kennedys at Buckingham Palace, HM donned a pale blue evening gown in frilly tulle – a Hartnell trademark – while the First Lady opted for a sleek column dress that was far more á la mode.
這次會(huì)面被改編成了劇作《王冠》，利用了杰奎琳對(duì)女王的“老式”搭配印象不深的謠言（據(jù)聞，杰奎琳曾評(píng)價(jià)英女王的衣著平庸沒有品味）。
The encounter was dramatised in The Crown, which played on the rumours that Jackie had been less than impressed by the Queen’s “old-fashioned”
然而，Holmes認(rèn)為，這兩位女性的著裝都表明了她們是誰，她們代表著什么- – 這對(duì)女王來說是不可動(dòng)搖的重要問題，尤其是對(duì)于具有里程碑意義的事件?！叭绻龍?jiān)持她所知道的，她永遠(yuǎn)不會(huì)出錯(cuò)，而她非常熟悉那種經(jīng)典的輪廓”霍爾特說。
ensemble. Holmes, however, argues that both women’s attire spoke to who they were and what they represented – a matter of unwavering importance to the Queen, especially for landmark events. “She can never go wrong if she sticks to what she knows and that classic silhouette is very familiar to her,” says Holt.
事實(shí)上，隨著以自由奔放著稱的這十年的發(fā)展，女王帶來了迷你裙，喇叭褲，扎染等，她重新審視了自己作為潮流引領(lǐng)者的角色，而不是開始為如今的標(biāo)志性風(fēng)格奠定基礎(chǔ)。純色系，修身裙以及一直保持在膝蓋或膝蓋以下的裙子的時(shí)代正式開始了。
Indeed, as the famously free-spirited decade progressed, bringing with it miniskirts, bell-bottoms, tie-dye et al, the monarch reappraised her role as trend-setter, instead setting out to establish the foundations of her now-hallmark style. The era of block colours, slim silhouettes and skirts that have remained steadfastly on or below the knee, had officially begun.
In a yellow polkadot dress by Hardy Amies with matching turban on a 1975 visit to Mexico (Credit: Getty Images)
上圖：在1975年訪問墨西哥時(shí)，女王陛下身著哈迪·艾米斯（Hardy Amies）設(shè)計(jì)的的黃色波爾卡多特連衣裙和配套的頭巾，引領(lǐng)了十年的華麗風(fēng)格（圖片來源：Getty Images）
20世紀(jì) 70 年代 1970s
女王是世界上旅行最多的君主，在她統(tǒng)治期間訪問了117個(gè)不同的國家。她的每次皇室訪問都伴隨著一個(gè)精心策劃的定制衣櫥，反映了“她所處國家的態(tài)度或動(dòng)植物標(biāo)志（如國花，國鳥，國寶等等），無論是通過顏色，風(fēng)格，圖案還是珠寶，”（小編注：英國皇室文化，是通過衣飾來對(duì)所在國的文化進(jìn)行致敬）
The Queen is the world’s best-travelled monarch, having visited 117 different countries during her reign. Each of her royal visits has been accompanied by a scrupulously planned, bespoke wardrobe reflecting “the attitudes, or flora and fauna, of the country she’s in, whether through colour, style, pattern, or jewellery,”
《伊麗莎白啟示錄》的作者露辛達(dá)霍克斯利告訴BBC文化頻道?！斑@是她成為偉大的外交官的原因之一?！盚olmes對(duì)此表示贊同：“她親切的姿態(tài)不言不語地表達(dá)了一切，并且影響了當(dāng)今許多女政治家的穿著方式。
Lucinda Hawksley, the author of Elizabeth Revealed, tells BBC Culture. “It’s one of the things that makes her such a great diplomat.” Holmes agrees: “Her gracious gestures say everything without having to say anything at all, and have influenced the way a lot of female politicians dress today.”
在這里，女王在1975年對(duì)墨西哥進(jìn)行國事訪問期間，穿著哈迪·艾米斯（Hardy Amies）設(shè)計(jì)的陽光明媚的黃色波爾卡多特連衣裙，搭配弗雷德里克·?？怂梗‵rederick Fox）設(shè)計(jì)的頭巾。黃色傳統(tǒng)上代表著復(fù)興和希望，在瑪雅文化中也象征著玉米，而玉米是重要的生命之源。
Here, the Queen is seen in a sunny yellow polkadot dress by Hardy Amies, and matching turban by Frederick Fox, during a state visit to Mexico in 1975. Traditionally representative of renewal and hope, yellow also symbolises maize, a vital life source, in Mayan culture.
大膽的顏色和圖案選擇彰顯了女王自己對(duì) 20 世紀(jì) 70 年代潮流的鮮明的自我表達(dá)，這體現(xiàn)在她在整個(gè)十年中引人注目的日裝和晚裝上。與此同時(shí)，妙想天開的頭飾正在成為皇室的主要服飾?！爱?dāng)女王步入中年時(shí)，她在自己的角色中大步前進(jìn)，”Holmes指出?！八庾R(shí)到有必要讓自己的出現(xiàn)保持有趣，有趣的帽子可以拍出夢(mèng)幻般的照片，尤其是在特寫鏡頭中?！?/p>
The bold choice of colour and pattern demonstrates the Queen’s own take on the 1970s trend for striking self-expression, which manifested itself in her eye-catching day and evening wear throughout the decade. Meanwhile, whimsical headwear was becoming a key royal staple. “The Queen reached a moment in middle-age when she hit her stride with her role,” notes Holmes. “She recognised the need to keep her presence interesting, and interesting hats make for fantastic photographs, particularly in close-ups.”
多年來，君主的鄉(xiāng)村時(shí)尚品牌一直被廣泛效仿，以至于它現(xiàn)在擁有近乎媚俗的吸引力。
The monarch’s brand of rural chic has been so widely emulated over the years that it now boasts an almost kitsch appeal
The Queen’s enduring off-duty look, shown at the 1988 Royal Windsor Horse Show, has been much copied by fashionistas
上圖：女王經(jīng)久不衰的下班（悠閑）造型，在1988年皇家溫莎馬展上展現(xiàn)，被時(shí)尚達(dá)人大量復(fù)制（圖片來源：Getty Images）
20世紀(jì) 80年代 1980s
這張照片拍攝于 1988 年的皇家溫莎馬展上，這張照片中女王穿著她經(jīng)久不衰的、永恒的下班制服（悠閑套裝）——這里沒有 80 年代的泡芙袖。這是由“花呢裙，夾克和馬褲，這些她自己制作的經(jīng)典英國鄉(xiāng)村服飾來詮釋她的魅力，”霍爾特解釋說，“這表明她是一個(gè)熱愛馬和戶外活動(dòng)的女人。”這樣的裝扮通常會(huì)搭配一件巴伯爾夾克和一條華麗的絲質(zhì)頭巾，通常是愛馬仕的馬紋圖案， Holmes說“這顯示了她的個(gè)性并在某種程度上使她更加平易近人”。
Taken at The Royal Windsor Horse Show in 1988, this image finds the Queen in her enduring and timeless off-duty uniform – no 80s puff-sleeves here. This is defined by “the tweed skirts and jackets, the jodhpurs, these classic British country items she has made her own,” explains Holt, “and that show her as a woman who loves horses and the outdoors.” Such outfits will often be topped by a Barbour jacket and an exuberantly patterned silk headscarf, frequently an equine print by Hermes, that Holmes says “shows her personality and somehow makes her more approachable”.
多年來，女王的鄉(xiāng)村時(shí)尚品牌一直被廣泛模仿，以至于它現(xiàn)在擁有近乎媚俗的吸引力。古馳2017年春夏女裝秀或許是最好的代表，該秀在威斯敏斯特教堂舉行，亞歷山德羅·米歇爾（Alessandro Michele）讓模特兒穿著華麗的頭巾和色彩繽紛的格子裙，帶上運(yùn)動(dòng)箱包和穿上修飾過的樂福鞋，向女王的休閑造型致敬。
The monarch’s brand of rural chic has been so widely emulated over the years that it now boasts an almost kitsch appeal. This is perhaps best epitomised by Gucci’s spring/ summer 2017 women’s show, which took place in Westminster Abbey and saw Alessandro Michele deck his models in gaudy headscarves and colourful tartan skirts, and sporting box handbags and embellished loafers in tribute to HM’s downtime look.
在其他地方，許多富裕的戶外愛好者 早已采用了這種造型模式，盡管她們的風(fēng)格更為低調(diào)?；艨怂估f：“我認(rèn)為這讓女王匿名了，因?yàn)樵S多人都穿得像她，戴著頭巾等等，所以她看起來就像馬術(shù)表演上的任何年長(zhǎng)女人一樣，”
Elsewhere, legions of well-to-do outdoorsy types have long adopted this mode of styling, albeit in a more muted manner. “I think it gives the Queen anonymity because so many others dress like her, with the headscarf and so on, so she just looks like any older woman at a horse show,” says Hawksley.
The sequinned “Harlequin dress” was worn at the Royal Variety Performance– it was perfect for the occasion
上圖：亮片的“小丑連衣裙”在1999年的皇家綜藝表演中穿著——這是一個(gè)實(shí)驗(yàn)性的選擇，非常適合這個(gè)場(chǎng)合（圖片來源：Getty Images）
20世紀(jì) 90 年代 1990s
1990年代對(duì)溫莎家族來說是一個(gè)糟糕的開端，女王宣布1992年是“可怕的一年”，因?yàn)榛适一橐銎屏押蜏厣潜ぐl(fā)生了毀滅性的大火。隨著查爾斯王子和戴安娜的婚姻在公開解體，以及戴安娜于1997年去世，情況變得更糟。但是，無論時(shí)代多么動(dòng)蕩，女王都可以依靠它來履行她的職責(zé) – 偶爾投擲時(shí)尚曲線球來加分（即以出其不意的時(shí)尚裝扮來獲得加分）。
The 1990s got off to a bad start for the Windsors, with the Queen proclaiming 1992 an “annus horribilis” on account of royal marriage breakdowns and a devastating fire at Windsor Castle. Things only got worse with the very public unravelling of Prince Charles and Diana’s marriage, and Diana’s death in 1997. But however turbulent the times, the Queen can be relied upon to show up to perform her duties – throwing in the occasional fashion curve ball for good measure.
這個(gè)造型是她有史以來最大膽的晚間搭配之一，于1999年在伯明翰的皇家綜藝表演中穿著。由Karl-Ludwig Rehse制作，綽號(hào)“小丑連衣裙”，它包括一個(gè)亮片上衣，由多色鉆石組成，下身是金色的V形條紋裙子?！斑@是女王為一項(xiàng)活動(dòng)全力以赴的一個(gè)很好的例子，”霍爾特說。“當(dāng)皇室成員如此打扮時(shí)，這表明他們對(duì)即將出席的場(chǎng)合有多尊重。他們意識(shí)到自己的出席是當(dāng)晚的關(guān)鍵。同樣，它展示了女王愿意繼續(xù)進(jìn)行嘗試，在這種情況下是相當(dāng)瘋狂的。
This look marks one of her most daring evening ensembles of all time, worn to the Royal Variety Performance in Birmingham in 1999. Made by Karl-Ludwig Rehse, and nicknamed the “Harlequin dress”, it comprises a sequinned bodice, made up of multicoloured diamonds, atop a gold, V-striped skirt. “This is a great example of the Queen going all-out for an event,” says Holt. “When royals dress up in this way, it shows how much they respect the occasion they’re going to. They realise their attendance is the crux of the evening.” Equally, it reveals the Queen’s continued willingness to experiment, rather wildly in this instance.
A classic tweed coat with a festive red trim was the outfit for a Christmas Day church service at Sandringham
上圖：一件經(jīng)典的花呢外套，帶有節(jié)日的紅色裝飾，是桑德靈厄姆圣誕節(jié)教堂禮拜的服裝——手袋是勞納的作品。
20 世紀(jì)末 2000s
從不羞于表達(dá)節(jié)日的喜悅，女王穿著這件冬青漿果紅邊花呢外套和匹配的帽子參加2008年在桑德靈厄姆舉行的圣誕節(jié)教堂服務(wù)。
Never one to shy from a festive statement, the Queen sported this holly-berry-red-edged tweed coat and matching hat to the Christmas Day church service at Sandringham in 2008.
這是女王標(biāo)志性美學(xué)的象征- 由她的私人造型師Angela Kelly為她的晚年精心搭配，她于2002年接任該職位 – 也表明了她對(duì)她最喜歡的英國配飾設(shè)計(jì)師的堅(jiān)定忠誠。在她的統(tǒng)治期間，她一直攜帶Launer手袋（“該品牌的總監(jiān)Gerald Bodmer說，漆皮款式，白天用黑色，白色或米色的，晚上用金色或銀色的”），以及相同風(fēng)格的搭扣粗跟鞋，不是由Gucci制造，而是由Anello&Davide制造。
It is a look emblematic of the Queen’s signature aesthetic – fine-tuned for her later years by her personal stylist Angela Kelly, who took up the role in 2002 – and also demonstrates her unwavering loyalty to her favourite British accessory designers. Throughout her reign, she has carried Launer handbags (“patent leather [styles] in black or white or beige for day use, and gold or silver for evening,” as the brand’s director Gerald Bodmer has said), and the same style of buckled block-heeled shoe, made not by Gucci but by Anello & Davide.
所有這些不僅僅是簡(jiǎn)單的喜好問題?；魻柼卣f：“自50年代末以來，女王利用時(shí)尚的巧妙之處在于，它代表著王室家族，成為這個(gè)瘋狂的不斷變化的世界的錨點(diǎn)（定位）。
All this is of course about more than simple preference. “What’s been very clever about how the Queen has used fashion since the late 50s is that it has come to represent the Royal Family as an anchor in a crazy, ever-changing world,” says Holt.
At her official 90th birthday celebration, the Queen offered a colour blocking masterclass – in dazzling neon green
上圖：在2016年她正式的90歲生日慶典上，女王展示了一套大師級(jí)的色彩套裝——耀眼的霓虹綠（圖片來源：Getty Images）
21 世紀(jì)初 2010s
女王迎來了她90歲的新開始，她穿著一件由皇室最愛的斯圖爾特·帕文（Stewart Parvin）制作的霓虹綠羊毛縐紗和絲綢兩件套，以及雷切爾·特雷弗·摩根（Rachel Trevor-Morgan）設(shè)計(jì)的與之相襯的帽子，再一次證明了自己，她是色彩女王，沒有彩虹光譜的顏色是她不能駕馭的。
The Queen welcomed the dawn of her nonagenarian years in a neon-green two-piece in wool crepe and silk, made by royal favourite Stewart Parvin, and a complementary hat by Rachel Trevor-Morgan proving herself, once again, the reigning queen of colour blocking, with no shade of the rainbow’s spectrum seemingly off limits.
“這是一個(gè)燦爛的表情，就像在說，’是的，我可能已經(jīng)90歲了，但我仍然是我的一家之主，仍然是世界幾十年來一直認(rèn)識(shí)和喜愛的女王，我很快就會(huì)哪兒也去不了了，”霍爾特說。
“This was a brilliant look that said, ‘Yes, I might be 90 but I’m still the head of my family, still the Queen the world has known and loved for decades, and I’m going nowhere soon,” says Holt.
“有趣的是，女王在90多歲的時(shí)候真的很喜歡穿石灰綠：它已經(jīng)成為她穿得最多的顏色之一。我認(rèn)為她代表了新一代的老年女性，以及她們?cè)谏鐣?huì)中的形象。長(zhǎng)期以來，對(duì)八九十歲的女性的看法是“為什么要擔(dān)心這個(gè)年齡的衣服？”但她在過去十年里真的很耀眼。Holmes對(duì)此表示贊同：“作為一名公眾人物，要既令人期待又令人興奮，這是一件很難做到的事情，但女王做得如此令人欽佩?！?/p>
“And funnily enough, the Queen has really embraced wearing lime green in her 90s: it’s become one of her most-worn colours. I think she represents a new generation of older women and how they’re seen in society. For so long the narrative around women in their 80s and 90s was ‘why worry about clothes at this age?’ But she has really shone in the past decade.” Holmes agrees: “It is such a hard thing to do as a public figure, to be both expected and exciting, but the Queen does it so admirably.”
A delicate floral print was the perfect choice for a visit to Cornwall’s Eden Project in 2021 during the G7 Summit
上圖：精致的花卉印花是2021年G7峰會(huì)期間參觀康沃爾郡伊甸園項(xiàng)目的完美選擇（圖片來源：Getty Images）
21 世紀(jì) 20 年代 2020s
21世紀(jì)20年代，女王陛下一如既往地打扮得令人振奮。在去年的G7峰會(huì)期間，在康沃爾郡美麗的“全球花園”伊甸園項(xiàng)目（The Eden Project）舉行的一次慈善活動(dòng)中，她選擇了安吉拉·凱利（Angela Kelly）設(shè)計(jì)的精致花卉印花連衣裙，搭配博茨瓦納總統(tǒng)2007年贈(zèng)送給她的博茨瓦納高粱胸針，向大自然致敬。
The 2020s finds Her Majesty dressing as upliftingly as ever. At a charity event during last year’s G7 summit, which took place at The Eden Project, Cornwall’s beautiful “global garden”, she tipped her hat to nature in her choice of a delicate floral-print dress by Angela Kelly, paired with the Botswana Sorghum Brooch presented to her by the President of Botswana in 2007.
霍爾特指出：“女王不是那種可以在大型演講中站出來發(fā)表意見的人，她也不想這樣做，但她總是用衣服和珠寶來傳遞一點(diǎn)信息?！?她補(bǔ)充說,“我認(rèn)為在社交媒體時(shí)代，每個(gè)人都對(duì)此感到非常興奮，”并引用了君主在2017年向議會(huì)戴的歐盟國旗帽，此舉引發(fā)了人們對(duì)她可能是“留歐派”的猜測(cè)?；魻柼乩^續(xù)說道,這些細(xì)節(jié)“以一種沒有爭(zhēng)議的方式強(qiáng)調(diào)了她的感受”。
“The Queen is not someone who can come out and give her opinion in big speeches, and nor would she like to, but she always uses clothes and jewellery to send a little message,” notes Holt. “I think in the era of social media everyone’s become quite excited about it,” she adds, referencing the EU-flag-evoking hat the monarch wore to parliament in 2017 in a move that sparked speculation of her possible status as a “remainer”. Such details “underline her feelings in a non-controversial way,” Holt continues.
事實(shí)上，正如Holmes敏銳地指出的那樣，“從25歲到現(xiàn)在，女王的穿著從未被認(rèn)為是不合適的。她讓這件事看起來比實(shí)際更容易，但70年來要做到從未出錯(cuò),所付出的工作量，思想，努力和資源是令人難以置信的?！?/p>
And indeed, as Holmes notes shrewdly, “From being a 25-year-old woman to now, the Queen has never once been deemed inappropriate in what she’s wearing. She makes it look easier than it really is but the amount of work, thought, effort and resources it takes to never miss in 70 years is incredible.”
資料來源 Daisy Woodward
翻譯 Mbl
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