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創立於 2018 年,面向世界各地品味高雅的讀者,AGNES SELECT 是一家專注於風格和文藝領域的線上媒體平台。以雙語內容書寫經典風格,至臻匠藝和優秀設計。

從訪談經典男裝專家到介紹大師級匠人,AGNES SELECT 透過文化濾鏡向讀者展示工藝世界和不朽風格。

簡言之,這裡的一切都是關於『well made』的細作良品和 『well lived』的風流人物。

Established in 2018, AGNES SELECT is a style & culture online platform facing discerning readers around the globe. It produces bilingual* content worshipping timeless style, consummate craftsmanship and good design.

 

From videos of interviewing sartorial connoisseurs to articles introducing master-craftsmen, AGNES SELECT offers insights into the world of craftsmanship and classic style through a cultural lens. 

 

To be short, it’s all about well-made & well-lived. 

(*bilingual: Simplified & Traditional Chinese; English.)

「Agnes」之名

「Agnes」之名來自小說《不朽》:

 

在巴黎一座現代化大樓頂層的泳池畔,一位六十歲上下的婦人正在上游泳課。在課程結束時,她經過年輕的游泳教練身邊,回頭朝他一笑並做了一個手勢。書中寫道:「這個微笑和這個手勢充滿著魅力,可是她的臉龐和身軀已經不能再吸引人了。這是一個淹沒在已經衰老的軀體裡的富有魅力的手勢…… 虧得她做了這個手勢,在一剎那間,她那種不從屬於時間的魅力的本質顯現出來,把我迷住了。我心裡異常激動。這時候,我腦子裡突然冒出了 Agnes (阿涅絲 )這個名字…… 就像夏娃出自於亞當的一根肋骨,維納斯誕生於大海中的浪花一樣,Agnes 出現於一位六十歲的老太太的一個手勢之中。」

 

本以為那手勢體現了那位太太不從屬於時間的魅力本質,然而隨後作者昆德拉又推翻這種想法,因為曾在這顆行星上生活過的數百億人不可能都具有他們獨占的手勢,手勢的數量要遠遠少於人數:「手勢根本顯現不了這位太太的本質,還不如說這位太太使我發現了一種手勢的魅力。因為我們不能把一種姿勢看作是某個個人的屬性,也不能看作是他的創造(任何人都創造不出一種全新的非其莫屬的獨特的姿勢),甚至也不能看作是他的工具。事實恰恰相反:是手勢在使用我們,我們是它們的工具,是它們的傀儡,是它們的替身。」

 

其實何止手勢,某種風格又是哪一個人可以專有的嗎?人們常說「借時尚風格體現個性」,然而正如《不朽》中關於手勢的思考一樣 —— 即便時尚千變萬化,風格的種類也必定少於人數。這當然不是否定個性,也無意忽略那些出色的風格演繹者和富有強烈特色的個人。就以佩戴腕錶為例,大亨Gianni Agnalli 喜愛將錶戴在襯衫袖口上,Sergio Loro Piana 也時常仿照此舉。Swatch 集團創始人Nicolas Hayek喜歡兩隻手腕都戴錶,The Rake 雜誌的創始人Wei Koh 亦如法炮製。換句話說,如若一種型格款式不能為許多人套用,時尚產業又怎會如此繁榮?

 

試把前文中的「手勢」換成「風格」,我們便能得到一個相當有趣的論述:

 

風格不是某個個人的屬性,也不能看作他的創造,甚至也不能看作是他的工具。事實恰恰相反,是風格在使用我們,我們是它們的工具,是它們的傀儡,是它們的替身。

The name Agnes came from Milan Kundera’s novel Immortality.

 

By the pool at the top floor of a high-rise with a panoramic view of all Paris, a woman in her sixties was having a swimming class with a young lifeguard. As her lesson ends, she turned her head towards the lifeguard on her way out, smiled, and waved to him. Just as Eve came from Adam’s rib, just as Venus was born out of the waves, Agnes sprang from at the gesture of that sixty-year-old woman at the pool……

 

The book writes: 

That smile and that gesture had charm and elegance, while the face and the body no longer had any charm. It was the charm of the gesture drowning in the charmlessness of the body……The essence of her charm, independent of time, revealed itself for a second in that gesture and dazzled me. I was strangely moved. And the word Agnes entered my mind……At the time, that gesture aroused in me immense, inexplicable nostalgia and this nostalgia gave birth to the woman I call Agnes.

 

At first, the author thought the gesture reveals the essence of the timeless charm of that woman. But quickly he realised it was not quite so. Arithmetically, it is simply impossible for the billions of people on earth to each have their own gestures —  “The gesture revealed nothing of that woman’s essence, one could rather say that the woman revealed to me the charm of a gesture. A gesture cannot be regarded as the expression of an individual, as his creation (because no individual is capable of creating a fully original gesture, belonging to nobody else), nor can it even be regarded as that person’s instrument; on the contrary, it is gestures that use us as their instruments, as their bearers and incarnations”.

 

Likewise,  there’s another intangible and equivocal quality that we devoutly practise yet cannot claim we own it — style. 

 

People like to say that they are expressing themselves through their styles. However,  just like gestures, despite the excess of fashion trends, there are fewer styles in the world than there are individuals. And style can be imitated. Take wearing a watch as an example. Tycoon Gianni Agnelli likes to wear the watch on the sleeve of his shirt, and Sergio Loro Piana often imitates this. Swatch Group founder Nicolas Hayek often wears watch on both wrists, and Wei Koh did the same. In other words, if a style cannot be copied or imitated, how can the fashion industry be so prosperous?

 

If we replace the word “gestures” with “style” in Kundera’s revelation about gesture and essence of charm, we can get an interesting argument: “no individual is capable of creating an entirely original style, belong to nobody else. It is the styles that use us as their instruments, as their bearers and incarnations”.