晶瑩剔透

西爾維奧‧丹茲（Silvio Denz）現在其實是很忙碌的，因為他得籌備萊儷（Lalique）的一百週年慶。但在轉眼間，我們就與他同行於阿爾薩斯地區的莫代爾河畔溫根（Wingen-sur-Moder），一同穿越玻璃藝術的時代，同時體驗玻璃的晶瑩剔透是如何地貼近這名男人的性格。

   

從史特拉斯堡（Straßburg）往北半個小時的車程，到了什溫德拉蔡姆（Schwindratzheim）收費站，路牌上只標示了一個方向「巴黎」，不過兩地尚有將近 500 公里的距離。如果人們面臨的是要前往巴黎還是世界其他地方的抉擇，他們可能會選擇這個知名都市；然而，誠如我們後來從西爾維奧•丹茲身上瞭解到的，你可以在巴黎找到形形色色的事物，但是很少能代表真正的法國。這只能在鄉村地區找到，尤其是在這個與德國接壤的亞爾薩斯（Alsace）地區。我們將巴黎拋諸左方，身後仍可見到什溫德拉蔡姆，直奔北佛日自然公園（Northern Vosges Nature Park），前往莫代爾河畔溫根。

一百年前，一位名叫勒內‧萊儷（René Lalique）的巴黎珠寶商兼藝術家與工匠將現代化和工業化帶至溫根。幾十年後，瑞士投資家西爾維奧‧丹茲挽救了萊儷王朝的傳奇，使其免於被拋售的命運。隨後，他將產品陣容擴展至高端器具、開設米其林星級餐廳，並在博物館展出世上最多的古董香水瓶。他傾力將萊儷打造為世界著名的品牌，讓品牌成為工藝、價值、設計、藝術的代名詞。64 歲的丹茲說：「是的，就是豪華的生活風格，但豪華不能只是價格昂貴和引人注目。品質是成功的不二法門，而且產品越獨特越好。」

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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萊儷在全球擁有 700 多處銷售據點和展間，以及 30 多間直營店。無論是在巴黎、倫敦、比佛利山莊、莫斯科、香港、貝魯特還是在塔什干──當然還有位於佛日山麓松林中的溫根，在這些地方，只要走幾步，就會覺得時空倒回了一個世紀。土窯工匠奧利維耶‧佩特裡（Olivier Petry）站在製造工坊後方的房間裡，臉上散發著禪師般的淡定神情。他正徒手將 6 個窯爐的表面抹平。他說：「一個窯爐只能持續使用 4 個月，之後便燒盡不能再用了，我正在替新型的黏土窯爐塑型。」

萊儷是一家傳統手工藝品製造商，這一眼就能看得出來。製造廠房中有 5 個人，在 一座 1,200 度高溫的核心熔化爐與一旁陷入地面的冷卻爐之間來回走動。每隔幾分鐘，手握一把喙型剪刀的馬提‧力尼（Martial Rinie）就會迎接拿著玻璃吹管的同事，並熟練地將熾熱的玻璃製品剪下。這是一項必須聚精會神的精密工作，要像鐘錶的發條一樣準確。

250 名員工每年生產、包裝、運送超過 50 萬件的獨特手工製品。珠寶和香水瓶、室內設計品和裝飾品，產品範圍囊括水晶吊燈、花瓶、傢俱鑲嵌飾件等，還有許多意想不到的產品。有些作品甚至耗時數百小時完成。

傳統：
二十年來，西爾維奧‧丹茲一直開著保時捷 911 Turbo S，而且都是黑色的。 他把在莫代爾河畔溫根建造於 1920 年的勒內‧萊儷別 墅改造成一家時尚的餐廳。

自 2008 年以來，丹茲已在溫根工廠投資了超過 2,500 萬歐元。不僅生產力提升，最重要的是品質也明顯提升了。「我們不想生產一千萬個相同的產品，而是想要每件作品都是獨一無二的。即使它們之中有某些地方相似，但就像益智尋寶圖一樣，你還是會在細節上找到差異處。我們傳承精湛的技藝和專業知識，並延續傳統。」

勒內‧萊儷一度將香水瓶的生產工業化，讓阿爾薩斯的玻璃廠多年來處於產能滿載的情況。1994 年，當 Pochet 集團接管萊儷家族企業時，這家專門從事化妝品包裝的巴黎公司希冀能發揮合併效果。但是經過 15 年後，西爾維奧‧丹茲意識到勒內‧萊儷曾經推崇的大規模生產方式，並無法許諾未來前景，而是必須取決於產品的獨特性。丹茲的外表極具親和力，不會說大話，身邊也沒圍繞著隨扈，會面的安排都是由他親自打電話，直接接觸對他來說很重要。在他接管萊儷時，當時巴黎的董事長堅持採用嚴格的層級制企業家模式，從上到下都有嚴格的指揮系統，這使得訊息傳遞到上頭要花很長的時間。當丹茲採行他的合作式領導風格後，這位董事長抱怨： 「你破壞了我的權威！」丹茲後來解散了整個董事會：「我是一個團隊合作者。我相信，只要團結起來，我們就能達成更大的成就。我不在乎 720 名員工當中誰向我提供訊息，我只在乎資訊傳遞的速度。」

工坊：
熔爐中的液體玻璃在以精湛工藝製成的模具中形成充滿想像力的形態。 製作模具（左上圖）需要鑿子、短槌和極靈敏的指尖觸感。

在丹茲於溫根所創辦的第 3 家美食餐廳霍克伯格城堡（Château Hochberg）裡，這位企業家午餐時談到了他的父親。他們家算是小康家庭，但丹茲如何成為今日成功的跨界企業家？他父親說：「語言是人生之門。不懂語言，你就容易被人騙倒。」丹茲在美國密爾瓦基學習英語、在瑞士洛桑學習法語，並在巴塞爾的蘇黎世州立銀行展開典型的瑞士職業生涯。後來又偶然進入了家族企業，並將這家 8 人公司擴展成擁有 800 名員工的香水連鎖店 Alrodo。當被問及成功需要什麼條件時，他說了幾項典型的美德：紮實的訓練、勤奮和努力。他沒有提及需要勇氣，而是說需要「精算風險」。無論是他對波爾多的葡萄園還是蘇格蘭威士忌的投資，都是評估過風險的。

萊儷在 2008 年時曾出現過虧損，丹茲深諳香水生意，也立即明白：「800 萬歐元的香水營業額還不夠。我們只有讓營業額成雙倍或 3 倍增長才能賺錢。今天，我們的營業額是原來的 4 倍。香水正是主力商品。」

細膩如絲的優雅：

細膩如絲的優雅：

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）。
一百年前， 勒內‧萊儷 帶著他的玻璃藝術來到阿爾薩斯並定居下來。 如今， 西爾維奧‧丹茲透過變革保留了這些遺產。對珍貴香水瓶的熱情不僅開拓了新業務，也帶來新的私人收藏。

這就是遠見家與眾不同之處：他能認清並利用各種可能性，能將第一眼看來不相關的事物聯想在一起。西爾維奧‧丹茲對威士忌或水晶製品並不感興趣。但是他對香水瓶的熱情為他開啟了一個新的業務領域。丹茲：「我原本並不想接管萊儷的水晶生產部門，而威士忌也完全不在計畫內。但是後來我的客戶麥卡倫（Macallan）告訴我，老酒桶裡的威士忌存量越來越少了，所以他想維持高價。幸好我旗下有水晶生產部門，我們就將價值移轉至瓶子上。2003 年，我們以 5 千美元售出了第一瓶威士忌。」如今，萊儷將威士忌裝在水晶瓶中，這些水晶瓶早已成為收藏品，一瓶這樣的威士忌價格可高達 7 萬歐元。

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。

金錢？財富？丹茲都不放在眼裡。他的錢是用來支付員工和進一步發展業務。現今社會總是認為「財產定義身份地位」，但金錢無法使人快樂。「你去馬爾地夫尋求快樂。可是食物不好，反讓你拉肚子。你買不到快樂，真正的快樂來自於內心。」

這聽起來幾乎是喀爾文主義。西爾維奧‧丹茲不愛在公眾場合露面，生活中完全沒有醜聞，很是符合這位紀律嚴明的生意人的形象。但是他實際上是個內向的特異人物，他擁有最高等級的飛行和潛水執照、20 年來都開保時捷 911 Turbo S，目前是第 4 輛，而且都是黑色的。一輛保時捷 Panamera 正在波爾多等候他入主，他同時也考慮入手另一輛跑車 Taycan。如同欣賞香水瓶的女性柔美，他鐘愛保時捷的陽剛力量。「對比與平衡是很重要的；一個人只有在運氣不好的時候才能體會到幸福的可貴。」丹茲的商業敏銳度與他的熱情互補。他熱愛建築和藝術，與艾爾頓•強（Elton John）、達米恩•赫斯特（Damien Hirst）、燈光藝術家詹姆斯•特瑞爾（James Turrell）合作，也曾與札哈‧哈蒂（Zaha Hadid）、安尼施•卡普爾（Anish Kapoor）等人共事；他以堅定又迷人的態度贏得這些人的信任。他自信地表示：「24 歲以前的人生，我都是在工作，但之後的 40 年，我做的都是 自己喜歡的事情。」對他來說，喜歡的事肯定包含對溫根這個法國傳統鄉村的熱愛 ──因為這裡遠離巴黎，更超脫什溫德拉蔡姆。

Jo Berlien
Jo Berlien