Queen of the Sea

Ahead of its debut in 2024, Queen Anne’s design team describe their process of looking to the past to build the future as they reinvent the spirit of Cunard.

Words: Catherine Martin

Ever since Cunard announced that it would be adding a new ship to its fleet, the cruising community has eagerly awaited further news of the landmark unveiling. The appointment of Adam D. Tihany as Creative Director came in 2018, soon followed by the unveiling of the full line-up of design talent tasked with chanelling the heritage of the brand through a contemporary lens. Then all went quiet – publicly, at least – but behind the scenes, a team of naval architects, shipbuilders and technical specialists have been working tirelessly, culminating in what has been a milestone year for Cunard. In February it was announced that the ship would be named Queen Anne; April marked the transfer from land to water; and in September, the traditional keel laying ceremony took place. Anticipation has been so great, that the first day of bookings was the busiest on record for the cruise line, with the maiden voyage sold-out well ahead of its 2024 sailing, even though little is known of the programming on board. The design details have also been a closely guarded secret, up until recent months when a series of reveals have given a taste of what to expect. Here, all four design studios speak to Starboard to tell of the heritage, craftsmanship and storytelling involved in the creation of Queen Anne, and how every element contributes to the overall guest experience.

THE ORCHESTRA

Describing his role as the conductor of an orchestra, Adam D. Tihany was tasked with bringing together the three design firms that would each play a part in the symphony of Queen Anne. Seeking to bring a fresh perspective, he enlisted Sybille de Margerie and David Collins Studio, both newcomers to cruise ship interiors, combining their hospitality expertise with that of Richmond, a London-based studio that counts hotels and cruise lines amongst its clients. Over the past two years, Tihany has been the guiding hand of this orchestra, overseeing the development of the creative vision and its translation into an interior design scheme. “Each firm was assigned a portion of the ship, while I am

“The Cunard narrative is an impeccable interplay of five core ingredients: heritage, craftsmanship, storytelling, style and innovation. This ultimately became the design DNA and the engine of inspiration for the team.”

ADAM D. TIHANY

responsible for ensuring total cohesion between their areas, that the flow from one space to the next is seamless,” he explains. “I worked closely with the designers on every idea and aspect of planning, interior architecture, mood and aesthetic. It’s an ongoing process of review, during which I give feedback and direction, encouraging the design teams to consider every element, from materials and lighting to texture and colour.”

THE DESIGN DNA

Together with Cunard’s creative team, Tihany began by setting the overarching vision for the ship, devising a concept that would honour the history of the brand while looking to the future. “Just the way a world-renowned orchestra delivers a feeling, or takes you to a moment or an era, our project’s aesthetic will do the same in harkening Cunard’s gilded age, but through the bold, onward lens of modernity,” he explains. With that in mind, Tihany established brand pillars that would go on to inform every design decision made: “The Cunard narrative is an impeccable interplay of five core ingredients: heritage, craftsmanship, storytelling, style and innovation. This ultimately became the design DNA and the engine of inspiration for the team.” Indeed, the team were immediately captivated by the concept, particularly after a trip to the University of Liverpool, where over 400 linear meters of archives serve as an insightful voyage through history. “It was essential that we immerse ourselves in the history of Cunard to understand the brand DNA,” explains Fiona Thompson, Principal at Richmond. “As there are multiple design consultants involved, it was also imperative that, under Adam’s stewardship, we were aligned with a common vision.”

For Lewis Taylor, Design Director at David Collins Studio, the wealth of materials kickstarted the thought process: “There were menu cards with graphics and fonts, and photographs of the interiors showing colour combinations, furniture forms and patterns from the upholstery – it was very inspiring.”

A meet-up at Cunard’s headquarters in Southampton ensued, where brainstorming sessions encouraged further exploration of the brand DNA. “The transatlantic crossing is what Cunard is known for, it’s ships define the Golden Age of cruise travel, so we talked about what makes Cunard unique,” Taylor continues. “We also talked about British eccentricity and humour; it was important to incorporate this into our designs through artwork and accessories. Primarily, we wanted to take the heritage DNA and propel it into the future.” Thompson agrees, describing the concept as a “reimagined Art Deco aesthetic” that is “contemporary, luxury and timeless, inspired by the early days of transatlantic travel”.

With the designers aligned to the same vision, they each sought to bring their own aesthetic to the scheme, which will in turn ensure a diverse mix of experiences for passengers. “From the very beginning, we knew we wanted each area to have its own identity,” notes Taylor, adding that David Collins Studio’s approach is about colour and texture – a teaser of what’s to come.

THE DETAILS

The team could quite simply have replicated the designs they were so inspired by, but that wouldn’t have been in keeping with the brief. “In many of our projects, we look back to take the design forward,” explains Taylor. “But rather than copy like-for-like, we look at details from the past and create contemporary interpretations – it feels more authentic.”

Revealing more about such design details on Queen Anne, he continues: “In the archives, we found an old photograph of a timber wall panel with a deco motif in the corner; we sketched it and made some tweaks, and that small detail has gone on to inform the patterned carpet in the suites as well as the custom wallpapers.”

The same approach has been taken by Richmond. “We uncovered so many gems in our research that can be experienced within the new interiors of Queen Anne,” says Thompson. “There was a black-and-white photograph of a distinctive chair on board Queen Mary that caught our eye so we reinvented it for the Britannia Club restaurant, adding a contemporary pattern; the rich mahogany timber frame together with the tailored stitching has resulted in an updated version of an Art Deco antique.”

The brand pillars of heritage and craftsmanship have inspired other details too. “Luxury finishes like bespoke verre églomisé panels, handcrafted by artisans, will add a refined, authentic layer

“We wanted to make sure there are common elements; every space has its own identity yet there’s a common thread throughout.”

LEWIS TAYLOR

to the design,” Thompson continues. “This will result in a unique, personal experience.”

THE ART OF STORYTELLING

With Richmond taking responsibility for entertainment spaces including the 825-seat Royal Court Theatre, David Collins Studio is charged with the Grand Lobby, the Queens Grill Suites and the main dining room. For Sybille de Margerie, the focus is on the Princess Grill, Britannia staterooms and atrium retail as well as the comprehensive Mareel Wellness & Beauty facilities. The designer also took inspiration from the past, subtly integrating elements into bespoke wallpapers, fabrics and carpets. “Cunard has a strong DNA so our design respects the heritage dimension of the brand, but being an ambassador of French elegance, I wanted to bring a touch of art de vivre to the project too,” she explains, adding that “poetic details, unexpected materials and refined finishes will bring drama to the scheme”.

The Britannia Club staterooms for example pair bold geometric patterns with an intense shade of navy, while the Princess Grill rooms are decorated in sumptuous red accompanied by gold tonal highlights.

Storytelling is also central to the design, with de Margerie opting for materials, finishes and furnishings that tell the tale of those who might have sailed with Cunard in years gone by. For instance, in the Queens Room – a grand bar and ballroom that plays host to the signature afternoon tea – elegant golden tones form the backdrop to a trip back in time. “The décor features souvenirs brought back from distant journeys, while the chandelier with its planetary spheres recalls a time when sailors were guided by the stars, just as the traveller is guided to the heart of the ship,” the designer explains. And the stories continue throughout. “The embossed leather and brass detail of the headboard references a vintage suitcase; glass wall lamps appear like a lighthouse lens to cast a soft glow and guide the guest to bed; and a touch of rope recalls nautical materials in their

“I’m adding craft and style to the historical elements for authentic interiors that enhance the cruise experience.”

SYBILLE DE MARGERIE

purest form,” de Margerie reveals, also pointing out the ever-present timber that illustrates the craftsmanship of luxury vessels. “My main objective is to balance tradition and modernity,” she confirms. “I’m adding craft and style to the historical elements for authentic interiors that enhance the cruise experience.”

THE SPACES IN-BETWEEN

Enhancing the cruise experience through the design of the restaurants, bars, lounges and entertainment venues is a given, but what of the spaces in-between? Under Tihany’s directive, each firm has considered the guest’s journey through the ship to ensure cohesion. “Across the ship our designs feature vibrant colours and materials, but for the public circulation spaces we opted for a warm, neutral colour palette,” explains Thompson, confirming the importance of seamless transitions.

Arguably the most important of the transitionary spaces is the atrium; sitting at the heart of the ship, it links all the amenities yet is also a destination in itself. “This was our greatest challenge as no matter what level of stateroom, all guests will come to the atrium,” says Taylor. “It’s a meeting place, it’s where concierge is and there’s a mix of retail and F&B on each deck; it has to be functional, serving different functions at different times of day, all while showcasing the Cunard DNA and a touch of timeless glamour. Crucially, it’s where people embark and disembark, and first and last impressions are important.”

A sense of cohesion between the spaces has been achieved through collaboration, with the team getting together for concept presentations and workshops to look at samples. “We wanted to make sure that there are common elements, such as finishes or colourways, that complement or carry from one space to another,” Taylor confirms. “Every space has its own identity yet there’s a common thread throughout.”

The sense of teamwork is evident from all involved and comes as a new approach for some. “We are used to collaborating with architects

Built of harmony

Secto Design is known for its wooden lamps that create a cosy atmosphere and elevate their surroundings. Kuulto ceiling fixtures look stunning both on their own and in modular groups or rows. Both sizes can be used on either ceilings or walls. Design by architect Seppo Koho.

“It will be extremely satisfying for guests to feel and experience an essence of the past while looking to the future.”

FIONA THOMPSON

and specialist consultants on hotel projects, but this is our first experience of being in a team with competitors,” says de Margerie. “The collaboration has been so respectful of each other’s ideas that we have become partners.”

The sentiment is shared by Taylor, who adds: “It was a unique situation to go from being competitors to collaborators, but it was imperative that we work closely as our areas sit side by side.”

Naturally there were differences of opinion throughout the process, but each designer was able to draw from their own experiences to reach the shared goal, as Thompson confirms: “Adam acting as conductor ensured coherence between the three design firms; it was an engaging design environment where different perspectives for design solutions were actively encouraged to succeed in creating a next-generation luxury standard for global travellers.”

THE GUEST EXPERIENCE

And that, of course, is the ultimate aim – creating an onboard destination for travellers. As such, every element of the scheme, from the towering atrium to the detail of the door handles, will contribute to the overall guest experience. Final judgement will of course come when Queen Anne makes its maiden voyage, a seven-night sailing departing from Southampton in 2024. But what do the design team hope to achieve for this landmark project? “The Cunard spirit is unique so the vessel must touch the heart of passengers,” says de Margerie, adding that her vision is to “create memories through sophisticated, intimate spaces”.

Thompson meanwhile describes the design as a journey, stating: “For us, it will be extremely satisfying for guests to feel and experience an essence of the past while looking to the future.”

And final word goes to the conductor. “The ultimate achievement of great design is to delight and surprise,” concludes Tihany. “I am confident the ship will deliver that sense of wonder, like a matchmaker at sea that introduces the past to its most alluring future.”