晶莹透彻

希尔维奥·邓兹（Silvio Denz）原本没有时间，他正在紧张筹备莱俪（Lalique）一百周年庆典。但他欣然同我们前往法国阿尔萨斯莫代尔河畔的温根市（Wingen-sur-Moder），共赴一场玻璃艺术之旅，让我们感受他同这一晶莹材质之间的契合。

   

由斯特拉斯堡（Straßburg）向北驾车半小时，我们来到施文德拉茨海姆（Schwindratzheim）的收费站。高速路牌上只有一个方向，那就是距此将近  500 公里外的巴黎。如果人们面前有两个选择：巴黎或者其他。相信多半人都会选择巴黎。但我们从希尔维奥·邓兹这里了解到，人们可以在巴黎觅得一切，除了法国。 乡间才是真正的法国，尤其是位于德国边界的阿尔萨斯地区。我们放弃了巴黎，驶离施文德拉茨海姆，穿过孚日山脉北部的自然公园，朝着莫代河畔的温根进发。

100 年前，一位巴黎的珠宝商、艺术家和手工艺人雷内·莱俪（René Lalique）将现代化与工业化带到了温根。数十年后，瑞士的投资商希尔维奥·邓兹继承了莱俪王朝的瑰宝，让它的独特性得以充分的绽放。星级餐厅，以及全球最大香水玻璃瓶博物馆应运而生。他坚持不懈地将莱俪打造成世界顶级品牌，一个集品质，价值，设计和艺术为一身的品牌。“奢华的生活方式”，64 岁的邓兹说道，“不仅体现在昂贵和功能性上。 成功只能源自于品质。越独一无二，越魅力非凡。”

Not quite nine centimetres in height, the perfume bottle on the left dates from 1911 and bears the title L'Idylle (The Idyll). It portrays a couple dancing – an allegorical representation of Adam and Eve before the expulsion from the Garden of Eden. The model on the right is a prototype from around 1910. Photos: Sabina Paries

Not quite nine centimetres in height, the perfume bottle on the left dates from 1911 and bears the title L'Idylle (The Idyll). It portrays a couple dancing – an allegorical representation of Adam and Eve before the expulsion from the Garden of Eden. The model on the right is a prototype from around 1910. Photos: Sabina Paries

The Phalène flacon imitates the shape of a butterfly. The figure embedded in the glass shows a woman. The outer form and inner figure symbolise a metamorphosis. René Lalique designed flacons such as this one for the D'Héraud company in 1913 and 1914.

The Phalène flacon imitates the shape of a butterfly. The figure embedded in the glass shows a woman. The outer form and inner figure symbolise a metamorphosis. René Lalique designed flacons such as this one for the D'Héraud company in 1913 and 1914.

A view into this display case at the Musée Lalique in Wingen-sur-Moder. On the left, D'où vient-il from 1920, made for Vigny. Next to them are two prototypes from 1919. The fourth flacon was made for D'Héraud in 1914; the fifth and sixth bottles show butterfly metamorphoses. These are followed by the two models Le Succès and Grâce, made for D'Orsay, as well as L'Idylle and a prototype from 1910.

A view into this display case at the Musée Lalique in Wingen-sur-Moder. On the left, D'où vient-il from 1920, made for Vigny. Next to them are two prototypes from 1919. The fourth flacon was made for D'Héraud in 1914; the fifth and sixth bottles show butterfly metamorphoses. These are followed by the two models Le Succès and Grâce, made for D'Orsay, as well as L'Idylle and a prototype from 1910.

René Lalique named this creation Black Currant. The dramatically curved caps are modelled in relief from eleven pairs of vertical ribs. The flacons were created in 1920. As a world-famous brand, Lalique also equipped Pullman train carriages and compartments for the Orient Express.

René Lalique named this creation Black Currant. The dramatically curved caps are modelled in relief from eleven pairs of vertical ribs. The flacons were created in 1920. As a world-famous brand, Lalique also equipped Pullman train carriages and compartments for the Orient Express.

The chiselled bottle in the centre was created in 1911 and was never named. It is surrounded by very different prototypes.

The chiselled bottle in the centre was created in 1911 and was never named. It is surrounded by very different prototypes.

The eye-catcher is the box in the middle: A travers la voilette (A Look Through the Hat Veil), from 1924. This creation for Isabey was Lalique's answer to Coco Chanel's Nº 5. This fragrance was an instant success in 1921 and found many imitators. The bottle to the right of the box resembles the second version of the original.

The eye-catcher is the box in the middle: A travers la voilette (A Look Through the Hat Veil), from 1924. This creation for Isabey was Lalique's answer to Coco Chanel's Nº 5. This fragrance was an instant success in 1921 and found many imitators. The bottle to the right of the box resembles the second version of the original.

René Lalique revolutionised flacon production, and his innovations were copied accordingly, which is why he tried to protect himself with his first patents in 1911 and 1912. This collection from 1911 is one of them. From left to right, the classic box shape of Dahlia changes via Fleur and Althéa to a stylised eye: the blossom becomes a shimmering iris.

René Lalique revolutionised flacon production, and his innovations were copied accordingly, which is why he tried to protect himself with his first patents in 1911 and 1912. This collection from 1911 is one of them. From left to right, the classic box shape of Dahlia changes via Fleur and Althéa to a stylised eye: the blossom becomes a shimmering iris.

The bottle in the foreground was created in 1912. The name says it all: Deux figurines, bouchon deux figurines. The spectacularly shaped stopper takes up the motif of the two female figures from the central plaque. Only at second glance do the bodies become recognisable on the clasp.

The bottle in the foreground was created in 1912. The name says it all: Deux figurines, bouchon deux figurines. The spectacularly shaped stopper takes up the motif of the two female figures from the central plaque. Only at second glance do the bodies become recognisable on the clasp.

René Lalique created the motif of the bottle on the left as early as 1912, but it was not until 1934 that the mermaid became established. Here, La Sirène adorns a Brumann brand flacon.

René Lalique created the motif of the bottle on the left as early as 1912, but it was not until 1934 that the mermaid became established. Here, La Sirène adorns a Brumann brand flacon.

The twenty-five-kilogram sculpture Cheval de Poséidon (Horses of Poseidon) was created in 2019 in a limited edition of 188 pieces. The motif follows ancient depictions. The photo shows the sculpture in its raw state. The crystal still needs to be cut and polished, showing the interplay of clear and satin surfaces.

The twenty-five-kilogram sculpture Cheval de Poséidon (Horses of Poseidon) was created in 2019 in a limited edition of 188 pieces. The motif follows ancient depictions. The photo shows the sculpture in its raw state. The crystal still needs to be cut and polished, showing the interplay of clear and satin surfaces.

The Lalique repertoire ranges from delicate perfume bottles to crystal sculptures commissioned by artists including Terry Rodgers, Arik Levy and Damien Hirst, as well as furnishings and decorative goods. Here, the Pivoines vase made of green crystal from 2020.

The Lalique repertoire ranges from delicate perfume bottles to crystal sculptures commissioned by artists including Terry Rodgers, Arik Levy and Damien Hirst, as well as furnishings and decorative goods. Here, the Pivoines vase made of green crystal from 2020.

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莱俪现在全球有 700 多家门店和陈列室，30 多家精品店，遍及巴黎，伦敦，比弗利山庄，莫斯科，香港，贝鲁特，塔什干，以及 温根。在这座位于弗格森山针叶林的工厂中，我们恍若回到一个世纪前。在工坊里屋，我们见到了奥利弗·佩特里（Olivier Petry）。 他身上散发着禅宗大师的光芒，徒手抚摸着六个打磨光滑的烤炉。“每个可以维持四个月，”他说道：“然后会逐步燃烧殆尽，我又会开始制作下一批。”

人们很快便能理解，莱俪是一间制作工厂，传统的手工艺作坊。在生产车间里，五个人不停在 1,200 度高温的熔窑和位于地下的退火炉之间来回巡视。每隔数分钟，马斯亚·里尼（Martial Rinie）便会借助尖嘴剪将吹管递给同事，隔开滚烫的玻璃体。高度专 注的精确作业，如钟表般不差毫厘。

250 名员工每年制作，包装和发送逾 50 万件手工艺品。首饰，香水瓶，室内家居以及装饰品，如水晶吊灯，花瓶，家具镶嵌材料——创意无止境。有些商品需耗费上百个小时悉心打磨。

传统： 
希尔维奥·邓兹 20 年如一日驾驶黑色保时捷 911 Turbo S。修建于 1920 年，位于莫代尔河畔温根的雷内·莱俪别墅被他改造成一个别具风格的餐馆。

自 2008 年，邓兹在本部投入了超过 2500 万欧元，提高了生产效率，且大幅度提升了品质。“我们不希望制作千万个流水线 商品。每件物品都是独一无二的。即使有些产品看似相同，却隐藏着一些细微的差别。我们延续了古老的工艺，将传统传承下去。”

雷内·莱俪曾希望将香水瓶制作工业化。阿尔萨斯的玻璃厂数年来产能一直饱和。当从事化妆品包装的巴黎 Pochet 集团于 1994 年接手莱俪后，一直寻求批量生产的合作方式。15 年后，希尔维奥·邓兹却认为未来并不在于雷内·莱俪所倡导的批量生产，而在于产品的独特性。邓兹很亲和，绝不独断专行，没有一堆随从簇拥。他会自己亲自电话安排日程。直截了当对他而言非常重要。当他刚接手莱俪时，当时巴黎的总监坚持等级森严的企业模式，执行一条从上至下的指挥链。信息传达到上层，往往耗时良久。当邓兹引入协作式管理方式时后，总监抱怨他的权力被剥夺了。邓兹对整个董事会的意见不以为然。“我是一个团队主义者。我坚信，大家携手并肩才能走得更远。720 名员工中的任何人都可以同我沟通，我只希望尽快且高效地获取信息。”

制作：
在充满艺术感的模具下，熔窑中如液体般流动的玻璃将变成奇特的造型。浇注模具通过凿子，木锤和手感来打磨

我们在霍赫贝格城堡（Château Hochberg）吃午餐——这是除米其林星级餐厅雷内·莱俪别墅（Villa René Lalique）和波尔多的利克拉佛利沛瑞格城堡（Château Lafaurie Peyraguey）餐厅外，邓兹所开设的第三家餐厅。他聊起自己的父亲。出身普通家庭的他如何成功创立多家企业？“我的父亲说：‘语言是生活的大门’。没有语言为桥梁，人们会将你排除在外。”于是他在美国密尔沃基学会了英语，在瑞士洛桑学会了法语，成为巴塞尔的州银行的一名银行职员，开启了一条典型瑞士人的事业之路。误打误撞中，他进入一家家族企业，将这个 8 人公司打造成拥有 800 名员工的香水连锁店 Alrodo。如果人们问他，成功的秘诀是什么？他的回答是：良好教育、勤奋和努力工作。无论是波尔多投资酒庄或苏格兰威士忌，他都以“可估算风险”代替鲁莽行事。

莱俪 2008 年出现亏损，邓兹深谙香水业务，马上领悟到：“800 万欧元销售额在香水行业并不够。只有把这个销售额提升两倍或三倍，才能赚钱。如今我们业绩已经增长四倍。香水业务是一切的支柱。”

优雅：

1929 年雷内·莱俪为巴黎创作的 7.3 厘米香水瓶 Fleurs parisiennes（巴黎女人之花）。
100 年前，雷内·莱俪在阿尔萨斯创建玻璃艺术的王国。如今希尔维奥·邓兹通过变革守护遗留的瑰宝。

他能窥探到机会，并充分利用它们，他就是这样一位具有远见卓识之人。一些乍看去毫不相干的事物，他却能把它们联系在一起。希尔维奥·邓兹对威士忌和水晶都兴趣寡然。但是对香水瓶的热爱为他开启新的业务领域。邓兹说：“我最初并不打算接手莱俪的水晶产品，威士忌更是不在计划内。但我从客户麦卡伦那里得知，存储在旧瓶中的威士忌越来越稀少，因此他想要抬高价格。而我刚好拥有水晶产品——我们携手通过酒瓶提升其价值。2003 年，我们合作的第一瓶酒便卖到  5,000 美元。”如今灌入莱俪水晶瓶的威士忌早已成为收藏家趋之若鹜的珍品，价值高达 70,000 欧元。

对昂贵香水瓶的热爱为他开启了新的业务领域和收藏之路。

金钱？财富？邓兹所要的并非这些。他需要钱来支付员工的薪水，拓展业务，缴纳税款。“在财富榜上的人们，被物质财富所定义。”但钱不会让人快乐。“你决定去马尔代夫享受快乐，但是坏掉的食物让你腹泻不止。快乐不能用钱购买，真正的快乐来 自内心。”

这听起来颇有些加尔文主义的意味。而邓兹不喜欢出现在公众面前，毫无负面新闻，都和这位自律商人的一贯形象相符合。但他私下实则是一个安静的怪人。他拥有飞行和潜水执照（最高级别），20 年如一日驾驶黑色的保时捷 911 Turbo S，目前已是第四辆。一辆保时捷 Panamera 在波尔多等待着他。Taycan 也在他的考虑之中。正如他眼中香水瓶代表女性的柔美，而保时捷则充满男性的力量。

“矛盾和平衡很重要。只有经历了一点霉运，才能深刻体会好运。”他的商业头脑与激情相得益彰。邓兹喜欢建筑和艺术。他同埃尔顿·约翰（Elton John），达米恩·赫斯特（Damien Hirst），灯光艺术家詹姆斯·特瑞尔（James Turrell），扎哈·哈迪德（Zaha Hadid），安尼施·卡普尔（Anish Kapoor）等均有合作。他的专注和成功让人信服。人们对他所说的深信不疑：“24 岁之前，我只是为了工作而工作，之后的 40 年，我一直做的是自己喜欢的事情。”而对法国传统小镇温根的热爱一定是其中一个令他喜欢的事情。这里远离巴黎，在施文德拉茨海姆的另一端。

Jo Berlien
Jo Berlien

油耗数据

911 Turbo S Cabriolet