I had dreams about forks; either seeing them in the blurriness of my dreams, or thinking of them as soon as I awake. I wonder if it’s because I think of forks so often that I dream of them? It’s as if forks are alive and they live deep in the recesses of my consciousness.
I can spend an entire afternoon just looking at knives and forks, constantly flipping through the “Handbook of Tableware” to study the catalogues of different tableware brands. However, if I read a handbook about jewelry, I’d probably be yawning, but books on tableware never make me sleepy. Sometimes I use my imagination to feel the weight of a fork in my hand and how it’d feel to put it in my mouth, such imagination amaze me; I’ll even think of the food that might go well with the fork. As I stare at the fork, I find it incredible that such an item that comes in only one shape can evolve into thousands of the very same kind, and my mind flows along its “simple” outline and slowly relaxes.
Western-style cutlery is usually made of stainless steel and wood; some have wooden handles, and some are painted with lacquer in different colors. I once bought some black enamel forks, and though they are beautiful, I still prefer matte stainless steel.
我日常愛用的是柳宗理的純不鏽鋼餐具，長年使用後更覺得它是洗練實用兼備的極致，不愧是從使用感開始著手的工藝，同時照顧了手、眼睛、嘴巴和心。說回我在夢裡看到的叉子，卻不是這種實用型的，而是更趨於本源的——丹麥設計師Arne Jacobsen在1957年為丹麥哥本哈根皇家飯店計的餐具。這兩套餐具常常給我如出一轍的感覺。提起Arne Jacobsen，人們有時會說起他一件童年逸事，小時候他希望替自己房間的維多利亞風壁紙「翻新」一下，誰知最後他把整個房間塗白了。這套餐具如今看來相當具有這種意味。卸下修飾，平整線條，只留一個無懈可擊的原始狀態。時間剛剛走了一圈。
Sori Yanagi’s pure stainless steel cutlery is my every-day utensil. Having spent years using them, I am certain that their perfect craftsmanship embraces both elegance and practicality, and they are definitely worthy of acclaim for their dedication to experiences for the hands, eyes, mouth and even heart. So, back to the fork I saw in my dream: it doesn’t focus much on practicality, but rather on the originality of cutlery—it’s part of the cutlery set designed by the Danish designer Arne Jacobsen for the SAS Royal Hotel in Copenhagen in 1957. I always think that the two sets of tableware share the same essence. When it comes to Arne Jacobsen, people would sometimes talk about his childhood stories; when he was young, he wanted to “revive” the Victorian-style wallpaper of his room, but ended up painting the entire room white. The design of his cutlery seemingly bears a certain resemblance to the story; eliminating the decoration, refining the outline, and leaving the design at its impeccably raw and fresh condition. The clock marks the passing of time.