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Aesthetic manifesto in the art of yachting
SUPERYACHT
Into a new dimension
TRIBUTE TO ALEXANDER MCQUEEN by Axel Crieger
Courtesy of the artist
Year III, Volume 3 - October 2020
DIGEST
BEWARE: Its use causes addiction!
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SUPERYACHT DIGEST Aesthetic Manifesto in the Art of Yachting Year III, Volume 3 - October 2020
Superyacht Digest is an International quarterly magazine registered at the Court of Milan n. 158/2016 superyachtdigest.com \ info@superyachtdigest.com EDITOR IN CHIEF Pamela Paci
ART DIRECTION Pamela Paci Comunicazione
CONTRIBUTING EDITORS Gemma Fottles, Julia Zaltzman, Chrissie McClatchie PUBLISHER Pamela Paci Comunicazione Via Lorenteggio, 124 - 20146 - Milan (ITALY) SOCIAL MEDIA Facebook/Superyachtdigest Instagram/Superyachtdigest LinkedIn/Pamela Paci
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Devices with soul
Foto di prodotto: Alessandro Gaja
charming switches made in Italy
MakeUp collection Serie civile con comando a pulsante, massello di acciaio inox 316L velvet IS-ProÂŽ iridescent.
www.plhitalia.com
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COVER STORY Spectacular Axel Crieger
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AFTER COVID The “new normal” and its messages
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LÜRSSEN | M/Y Flying Fox On board the world’s largest charter superyacht
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BENETTI | M/Y Luminosity The final frontier
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BAGLIETTO | M/Y SEVERIN*S The ritual of custom
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FERRETTI GROUP | CUSTOM YACHTS Super Fly
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OMEGA ARCHITECTS Design of the times
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INACE | HYDRO TEC The future of exploration
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AZIMUT YACHTS | MAGELLANO 25 METRI A masterpiece of art and marine engineering
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PRINCESS X95 Pushing the boundaries of design
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FEADSHIP | M/Y W Built this way
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ROSETTI SUPERYACHTS Natural selection
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Royal Huisman S/Y Sea Eagle II Reaching new heights
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Devices with soul
Foto di prodotto: Alessandro Gaja
charming switches made in Italy
Keyboard collection
serie civile con comando a pulsante, alluminio anodizzato microsabbiato rose.
www.plhitalia.com
PAMELA PACI
EDITORIAL Into a new dimension The pandemic has changed everything and the world now has a much sharper definition of what constitutes a black-swan event. How can leaders restore the global economic order and begin navigating to the next normal? As described in a recent report by McKinsey & Company, for some organizations, nearterm survival is the only agenda item, while others are lost in the fog of uncertainty. Our era will be defined by a fundamental schism: the period before COVID-19 and what will emerge in the post-viral era: the “next normal�. In this unprecedented new reality, we will witness a dramatic restructuring of the economic and social order. In the near future, we will see the beginning of discussion and debate about what the next normal could entail. McKinsey & Company tried to answer this question through a call to act across five stages: Resolve, Resilience, Return, Reimagination, and Reform.
The first stage is called Resolve and expresses the need to determine the scale, pace, and depth of action required at the state and business levels. In the face of these challenges, Resilience is a vital necessity. Near-term issues of cash management for liquidity and solvency are clearly paramount. But soon afterward, businesses will need to act on broader resilience plans as the shock begins to upturn established industry structures, resetting competitive positions forever. Returning businesses to operational health after a severe shutdown is extremely challenging. Most industries will need to reactivate their entire supply chain, taking into account that in multiple geographies the production activity may not be back to normal yet.
A shock of this scale will create a discontinuous shift in the preferences and expectations of individuals as citizens, as employees, and as consumers. Institutions that reinvent (reimagine) themselves to make the most of better insight and foresight, as preferences evolve, will disproportionally succeed. The crisis will reveal not just vulnerabilities but opportunities to improve the performance of businesses. The aftermath of the pandemic will also provide an opportunity to learn from a plethora of social innovations and experiments, ranging from working from home to large-scale surveillance. With this will come an understanding of which kind of reforms we need, which innovations might provide substantial uplift to economic and social welfare and which changes would instead limit the broader betterment of society.
How the yachting industry will evolve or reform itsef is not yet very clear since all events are still suspended, waiting to return to the new normal.
Pamela Paci SUPERYACHT DIGEST |
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Devices with soul
Foto di prodotto: Alessandro Gaja
charming switches made in Italy
MakeUp collection
Serie civile con comando a pulsante, massello di alluminio spazzolato e anodizzato blu, rosso e silver.
www.plhitalia.com
Tribute to Alexander McQueen © Axel Crieger
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by Pamela Paci
COVER STORY
SPECTACULAR AXEL CRIEGER HIS CREATIVE WORLD IS MADE UP OF DREAMLIKE IMAGES WHICH TAKES SHAPE IN HIS MIND LIKE "HEADSHOTS". A SORT OF COMBINATION OF TRUTH AND IMAGINED REALITY CREATED THROUGH IMAGES THAT HAVE NEVER BEEN PHOTOGRAPHED.
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o you remember the beautiful cover chosen for the issue of April 2018? How to forget the amazing Axel Crieger's work La Belle au bois dormant? Axel Crieger is a superb talented photographer, artist and designer who was born in 1955 in Germany and currently lives and works in Los Angeles, California, USA. For this issue of October we decided to adorn our cover with his photographic work entitled Tribute to Alexander McQueen, the British fashion designer and couturier died, hanged at his home, in 2010. Known for the emotional power and raw energy of its shows and a profound respect for craftsmanship, Alexander McQueen is a standard bearer for British fashion. Today, under the direction of Sarah Burton, the brand combines an in-depth knowledge of British tailoring with a unique creativity that sets Alexander McQueen apart. The image created by Axel Crieger was chosen for its poetic strength, mystic effect, sophisticated charm surrounded by an atomosphere of magic, which results in a journey into the unknown. Like the one the world is experiencing nowadays due to the pandemic and its uncertain future.
Axel Crieger's works are the expression of an intimate world released through creative images dipped in new scenarios, full of vivid colors or stressed with lights and shadows able to convey the work a mysterious charm similar to an allegory.
ON COVER Tribute to Alexander McQueen “Axel Crieger is a worldwide known artist, designer and photographer. His digital paintings have a rich and profound pictorial space that invites the viewer into it and make him/her a silent participant of the story”. Anna Bondarenko "Axel Crieger's luxurious images are magical and transport you to a world of dreams where real life takes on new dimensions. The images are mysterious and the very thoughtfully selected palette gives them a dramatic feel". Eva Ledecka 17
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(below) Requiem: Jean Michel Basquiat, Andy Warhol, Dennis Hopper
(above) Tattoo
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(above) Casa Azul, Frida Kahlo
(below) All About Eve
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Predator
WHO IS AXEL CRIEGER? Axel Crieger was born in 1955 in Munich, Germany and studied Visual Communication. The concepts of "truth" and "reality" fuse together when the American-German artist creates his modern photo-collages of the Icon series; out of previous images and special effects he recreates new environments for famous figures of modern history. As he says, this images are "headshots" created in his mind.
As a photographer, director and designer, Axel Crieger has worked for international clients like Levis, Time Warner, BMW, Heineken, Daimler or Ford in New York, Los Angeles, Paris, London or Milan. Many Hollywood stars are devoted collectors of Crieger´s works, which are also internationally awarded. Axel's Digital Paintings are composed of a variety of photographic quotes, designs, drawings and special effects to create photographic images, which have never been photographed. His art has been exhibited in several places around the world and is represented by various international galleries and international art shows. He has created books, TV shows, exhibitions, commercials and a variety of designs and large paintings. He met with Andy Warhol and got published in Interview Magazine, the publication founded in late 1969 by the major pioneer of the pop art movement. In 1980 Joseph Beuys, German avantgarde sculptor and performance artist (1921-1986), painted over one of his exhibits, signed it and declared the result Best of the Show. Oscar winner Michael Blake published his book "American Night", and Muhammad Ali received "Rumble in the Jungle" for his private collection.
"The digital images by artist Axel Crieger will attract anybody's attention. They are timeless, modern, depict celebrities in dreamlike settings and luxury products giving them a highly originally and uncompromising new look". Luxury Living
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Opium
Axel Crieger cooperates with Louisa Peixoto, a luxury Portuguese home design brand. The designer pieces are bold, compelling and sure to impress. The designer created a cabinet with the artistic intervention by Axel Crieger. 21
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(above) La Belle Au Bois Dormant
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(below) No Body No5, Fat Cat No5 - Digital C prints
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(below) East of Eden No5 - Digital C print
(above) Jealous
"Axel Crieger's version of transformative art is as irritating and disturbing as it is fabulous". Guénolé de Bouvoir
Axel Crieger’s work aims to design new realities and to tell virtual stories combining a variety of tecniques with a true sense of style to masterful compositions. His protagonists are mostly historical personalities who are placed in a situation saturate by the artist’s historical knowledge.
Nowadays he creates his art in a virtual space, which he seldom leaves, creating pictures of ideas, dreams, personal choices and public perception. His work has garnered critical acclaim and numerous awards and is available in small editions.
His works can be found in many private and public art collections like the Miller Collection Los Angeles, Jones Day International, Abdi Ibrahim Istanbul, Aberdeen International, Begum Agakhan Zurich, McKinsey&Company Moscow, Muhammad Ali Los Angeles, Ernst&Young London, EON Ag Germany, Consulate of the Netherlands, Istanbul, Robert Lee Hong Kong, KMP Singapore, Silvio Denz Paris, Young&Rubicam Tel Aviv, just to name a few. 23
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(above) Is there life on Mars?
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(below) Major Tom / David Bowie
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D i s t a n c i n g
w i l l
L i v e
k e e p
u s
t o g e t h e r.
r e s p o n s i b l y !
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by Pamela Paci
AFTER COVID
THE "NEW NORMAL" AND ITS MESSAGES
WHICH ARE THE NEW MESSAGES IN THE POST-COVID ERA? WILL WE REDISCOVER NEW VALUES OR WILL WE SIMPLY RETURN TO OUR MOST GENUINE TRADITIONS AND HABITS OF THE PAST? IN THESE MONTHS OF TRANSITION BETWEEN THE OUTBREAK OF THE PANDEMIC AND THE BEGINNING OF A NEW NORMAL, WE ARE WONDERING WHAT WILL BE THE NEW HABITS OF PEOPLE, BOTH FROM A SOCIAL AND COMMERCIAL POINT OF VIEW. IN FASHION WE ARE TALKING ABOUT PHIGITAL, A MIX BETWEEN PHYSICAL AND DIGITAL, IN THE RETAIL MARKET WE HEAR ABOUT A NEW OMNICHANNEL TREND. AND IN YACHTING? WE ARE WITNESSING A RENEWED NEED FOR INTIMACY WITH THE CUSTOMER, FAR FROM THE BOAT SHOWS, WHICH NOW SEEM TO BE OBSOLETE, STATIC AND EMOTIONLESS FORMATS.
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In a world where the digital purchasing process had spread differently, there has been an exponential growth in online shopping worldwide, with an estimated 2 million new eShoppers recorded in different product categories.
ncertainty, trust, innovation, change, these are some of the elements that build the identity of the new consumer. The unexpected spread of the coronavirus has suddenly overwhelmed the global economies, causing the breakdown of the economic and social balances consolidated up to that moment, forcing everyone to remain anxiously awaiting a return to the coveted normality swept away in the time of one night.
Clearly, the new behaviours were pushed by the lockdown, however the increased diffusion of the practice of e-commerce and the use of digital payments, with a + 35% in the use of credit cards and a + 29% in the Internet banking, could represent an opening towards the new trends of automated commerce (a-commerce)*, which uses Artificial Intelligence and Machine Learning to redesign the rules of traditional commerce.
What impact has the Covid effect had with its stringent safety measures on the environment and the surrounding context? How have these forced people and organizations to change their habits and give new values to the contexts where they live? The pandemic has touched the more human side of people, causing a feeling of fear towards social interactions. Fear, in its turn, has increased the frantic search for information, in the midst of an abundance of fake news that have contributed to augment the distortion of reality, leading people towards a demand for transparency at all levels.
A FLUID EXPERIENCE
All this results in a new sort of business pushed towards an "omni-channel" trend, which provides a fluid consumption experience from mobile to physical stores, through the integration of all company's channels and platforms, overcoming, consequently, the logic of a "multi-channel" offer that has often left a fragmented experience to the customer.
One of the most evident effects of the pandemic was recorded in the change in habits, both in lifestyle and in consumption.
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*Source: Business Integration Partners / Harvard Business Review
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© National Geographic Whether for fashion, health, or work, hand coverings can tell us a lot about the past. COVID-19 may be bringing a mini revival of chic gloves, even in warm weather. Still, in today’s world of masks and hand sanitizer, the glove might just be making a comeback. “I certainly think fashion people won’t want to keep wearing those ugly purple latex gloves”, says Valerie Steele, fashion historian and director of the Museum at the Fashion Institute of Technology. “If you could make some little black gloves, there would probably be a market for them”.
The forced diffusion of the practice of smart-working globally has had a double positive effect: on one hand, it represented a great challenge for those who had to convert promptly their work into a remote and virtual habit, on the other hand it has led almost 8 million employees to experience and appreciate the benefits on the quality of life.
various differences: if on one hand, in fact, the significant changes in habits could be destined to persist, on the other hand many are in a frantic search for lost normality, through almost ritual and commemorative behaviours of pre-Covid life.
This dichotomy amplifies the need for companies to invest in user research - on experience, usability and positioning of their brand - to identify which patterns have to be to redesigned in the dialogue and interaction with end customers.
As to the students' world, we can not say the same thing. The practice of e-learning represented a big novelty for all schools, students and families, but the experience was penalized by the lack of digital experience in the school organizations. However the need for the remote, to make everything accessible at a distance, has made us all capable of facing new models, new schemes. So we now ask ourselves "What’s next?". How to innovate the consumer experience in the times of Covid and post-Covid? How to set up the new models so to create a new relation of trust between consumer and brand?
Further benefit may derive from a renewal of the brand identity, in order to tune it to values that during the emergency have acquired greater importance in the eyes of consumers, such as transparency, involvement in social causes and attention to the needs of its customers and employees. The first sign of the change in the way of communicating with the public comes from the world of fashion, which as usual is always the first system to project itself into the future and to be prompt in reinventing itself so as not to lose contact with the public.
THE LOST NORMALITY
Actually, what is strikingly clear is that all businesses will face a challenge that goes beyond just "change", but which accentuates the concept of personalization to align with the 27
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From Instagram © @alessandro_michele
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Notes from the silence by Alessandro Michele
__________________________________________ WE TURNED OUT TO BE SO SMALL
A NEW CREATIVE UNIVERSE
These days of confinement, in a suspended time that we can hardly imagine as free, I try to ask myself what is the meaning of my actions. It’s a vital and urgent questioning for me, which demands a careful pause and a delicate listening. [...] We could never have thought to reconnect, so deeply, with the fragility of our creatural destiny. Our need for reciprocity. We turned out to be so small. [...] Our reckless actions have burned the house we live in. We conceived of ourselves as separated from nature, we felt cunning and almighty.
[...] Now we know that too furious was our doing, too insidious was our ride. In this renewed awareness, I feel the need of a different time, released from otherimposed deadlines that risk to humiliate creativity. [...] A time that now, more than ever, is necessary to build new and more powerful narrations. That is why I decided to build a new path, away from deadlines that the industry consolidated and, above all, away from an excessive performativity that today really has no raison d’être. It’s a foundational act, audacious but necessary, that aims at building a new creative universe. A universe that essentialises itself in the subtraction of events and that oxygenates through the multiplication of sense.
ABOUT WHAT WE WOULD NOT WANT TO BE THE SAME AS IT WAS [...] This crisis represents a fundamental test for us all. It’s a test, because there is sorrow, exertion, danger. But also because there is an evaluation and a judgment. Through sorrow we can look at our recent past with a critical eye. At our list of debts, misunderstandings, false notes, mistakes. At our missteps and recklessness. [...] As for me, in my own small way, I feel the urgent need to change a lot of things in the way I work. [...] But this crisis has somehow amplified such transformative urgency, which can’t be deferred anymore.
COMMUNITY OF PURPOSE In this silence, that is a living thing, my listening embraces all the extraordinary people that I’m connected with. Recalibrating time, to set the pace at a human level, wants to be a promise of revived care towards this amazing community of purpose I proudly belong to. It’s my project, pro-jectum: the art of extending the existence in the future. A plural future, where “we” provides a foundation. A future that contains the hug that today we cannot give each other, but to which we will return with an expanded comprehension. With a herd understanding and recovered breath. It will be the time when we will learn to listen for the sound of the forest growing, at night.
THE MOTIVE OF A CHOICE [...] I feel the need to renew a bond, purifying the essential by getting rid of the unnecessary. I crave the authentic motive of a choice. [...] This possibility allows me to catch, with bites of infinity, the daily falling in love with the existence.
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Alessandro Michele Š Gucci
THE PHYGITAL RECIPE
platforms... And beyond. I would like to leave behind the paraphernalia of leitmotifs that colonized our prior world: cruise, pre-fall, spring-summer, fall-winter. I think these are stale and underfed words. Labels of an impersonal discourse that lost its meaning".
Milan Fashion Week in September 2020 was a real challenge to Covid with its 52 events, 24 of which were digital. These are the ingredients of the "phygital" recipe - physical and digital together - with which Milan Fashion Week, and more generally Italian fashion, choose to react to the Covid-19 epidemic. Milan Fashion Week came out of the difficult lockdown with the desire to test new solutions. But the pandemic also represented the opportunity that the sector was waiting for to rethink and put its needs back at the center, together with those of the planet. But the stage has had one main character in particular under the spotlight. It was all about Giorgio Armani, who decided to parade behind closed doors, given the health situation still at risk. The Emporio Armani collections 2021 were presented in digital format, while those for the label's main line, Giorgio Armani, were the subject of a live broadcast on Italian TV channel La7. "An instinctive choice, born from the need to dialogue with the public", said Armani.
LUXURY TAKES TIME
Beyond fashion, all sectors are thinking about the new consumers' demand: environmental comfort, personal and home care, a healthy and balanced diet, genuine products, zero waste, more family moments linked to tradition, dinners at home and TV, remote experience including streaming and video conferencing systems, more technology to share with loved ones, especially older ones, greater comfort in home workstations and greater useful use of social media. A sort of identity crisis that we are all facing is therefore what the emergency led to, bringing to the surface issues and problems that people and sectors have been dragging along for years if not decades. As Giorgio Armani wrote, "The emergency in which we find ourselves shows that the only way forward is a careful and reasoned slowdown. The decline of the fashion system as we know it began when the luxury segment adopted the same operating methods as fast fashion, (...) thus forgetting that real luxury takes time, both to be created and to be understood. Luxury cannot and must not be fast".
First time also for Valentino, who for the occasion left the Paris catwalk and landed in Milan. Creative director Pierpaolo Piccioli spoke of an "unusual decision" needed to cope with the "current situation we are experiencing", and added: "Milan is a new opportunity, a great project that I am developing with my teams on the concept of identity". With a more radical choice, in May Gucci announced that it would upset the fashion show calendar to launch a new paradigm that is more in line with the needs of the sector.
The same approach was also adopted by the yachting sector which, already in spring, had already decided not to participate in the Monaco Yacht Show because the event was too much in contrast to the current emergency. This was not only an organizational decision, that is, a mere cancellation of an event from the yachting calendar, but rather a style choice to anticipate the need of speaking to the client in a different way, more private, less commercial, basing on a mutual exchange of trust. Hence the choice of many shipyards to hold private events, which the clients usually perceive as niche events dedicated to special guests, which is also an aspect that helps convey a much genuine idea of true luxury.
Creative director Alessandro Michele announced his program in a series of posts on Instagram entitled "Notes from silence": "Therefore, I will abandon the worn-out ritual of seasonalities and shows to regain a new cadence, closer to my expressive call. We will meet just twice a year, to share the chapters of a new story. Irregular, joyful and absolutely free chapters, which will be written blending rules and genres, feeding on new spaces, linguistic codes and communication 29
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Photography of a Banksy graffiti at the Israeli West Bank barrier in Bethlehem
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by Pamela Paci
WORLD'S FAVOURITE ARTISTS | BANKSY
THE BANKSY EFFECT
Girl with Balloon is a 2002-started London series of stencil murals by the graffiti artist Banksy, depicting a young girl with her hand extended toward a red heart-shaped balloon carried away by the wind. The locations for this work include Waterloo Bridge, and other murals were around London, though none remain there.
WHILE HIS FACE REMAINS ANONYMOUS, HIS ART IS RECOGNIZED WORLDWIDE. IMPRESSIVELY, BANKSY FOUND HIMSELF NEXT TO BARACK OBAMA, STEVE JOBS, AND LADY GAGA IN 2010 WHEN TIME MAGAZINE SELECTED HIM TO ITS LIST OF THE WORLD’S 100 MOST INFLUENTIAL PEOPLE IN 2010.HOWEVER, BANKSY IS MOSTLY KNOWN NOT AS JUST ANOTHER WALL TAGGER, BUT AS AN INSPIRATIONAL SOCIAL AND POLITICAL ARTIST, CROSSING BOUNDARIES TO PROVE THEIR IRONY.
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onsidered today one of the 100 most influential people, according to Time, Banksy, the artist with a mysterious name and hidden face, has become a true international superstar from ordinary street artist. Born in Bristol, probably in the seventies, he began to “smear” walls in his teens. Once he moved to London, his graffiti art began to gain more and more notoriety.
and the Met, and of British art galleries and museums, accompanying the gesture with very sharp words: "When you go to an art gallery you are simply a tourist looking at the trophy cabinet of a few millionaires". This description has become an expression of his unique vision of the tormented relationship between art business and street art. Banksy made his mark not only thanks to his murals but also to his controversial installations. In 2006 he exhibited a live Indian elephant at the Barely Legal exhibition in Los Angeles, United States, introducing the work on flyers with these words: "There is an elephant in the room. Twenty billions of people live below the poverty line".
His black humor achieved international fame when, in 2005, he painted nine images on the Palestinian side of the wall built in the West Bank, as protest against the oppression represented by the barrier. In the same year he hung some of his works among the artworks of some of the most prestigious museums in New York, including the MOMA 31
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Dismaland was a temporary art project organised by street artist Banksy in the seaside resort of Weston-super-Mare in Somerset, England. Prepared in secret, the pop-up exhibition at the Tropicana, a disused lido, was “a sinister twist on Disneyland” that opened during the weekend of 21 August 2015 and closed on 27 September 2015, 36 days later. Banksy described it as a “family theme park unsuitable for children”.
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DURING THE PANDEMIC
Among his most ingenious ways to bring the public closer to his art, in 2008 together with 39 other artists he painted (legally) a London tunnel. While exhibitions with thousands of visitors began to take place around his figure, which yielded thousands of pounds, of which the artist did not perceive anything, Bansky set to work to create what would have represented the culmination of his stunts: Dismaland, a dystopian theme park inspired by Disneyland, created in 2015 and built on public space with the aim of exhibiting socially conscious works of art. Many accuse Banksy of denouncing capitalism but at the same time having made his fortune with art. In 2007, his piece Bomb Middle England was sold for around 200,000 euros, a ridiculous price compared to the nearly 2 million euros paid for Keep it Spotless, the
Banksy has recently made a lot of talk about himself both for the stunts on the subject of Covid and for having financed the rescue boat Louise Michel, engaged in helping people in the Mediterranean Sea. The British artist’s offer is to be interpreted not as a humanitarian action, but as part of an anti-fascist struggle.
During the months of the lockdown, the walls of the cities were filled with murals in honor of nurses and doctors. Banksy also expressed his sensitivity in this regard, donating, as his personal tribute, a one meter by one meter work, all in black and white, except for the detail of the red cross symbol,
Banksy’s painting for the Southampton General Hospital called Game Changer (2020)
to Southampton University Hospital. The mysterious artist, who had already made his voice heard during the Covid-19 emergency with a creative gesture in his bathroom, delivered it in person dressed in an anti-contamination suit and wearing a mask. The work shows a young boy kneeling by a wastepaper basket dressed in dungarees and a T-shirt. He has discarded his Spiderman and Batman model figures in favour of a new favourite action hero - an NHS nurse. The nurse’s arm is outstretched and pointing forward in the fashion of Superman on a mission. She is wearing a facemask, a nurse’s cape, and an apron with the Red Cross emblem (the only element of colour in the picture). The artist left a note for hospital workers, which read: "Thanks for all you’re doing. I hope this brightens the place up a bit, even if its only black and white".
work created in collaboration with British artist Damien Hirst. The business of his works has expanded so much that the artist has formed a group of experts called Pest Control, the only organization authorized to authenticate his works. But Banksy justifies himself by pointing out that he has also given thousands of paintings to charity. With his graffiti that are free for anyone, and exhibitions that are also accessible for free, he is able to stimulate the public’s interest in art, creating a real "Banksy effect". What he creates goes beyond the character of Banksy himself: this artist has changed the art landscape forever, making it more accessible and supporting public debate. Whether he’s a salesman or a Robin Hood, it doesn’t matter.
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Girl with a Pierced Eardrum, photography of the Banksy mural in Bristol, utilises an alarm for the earring
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the Air, the representation of the famous boy who throws a bouquet of flowers as if it were a hand grenade. This artwork appeared for the first time in 2003 in a mural in Jerusalem, on the border line that separates Israelis and Palestinians.
And actually the work stands out as a sign of hope within a purely medical environment and gives smiles moving those who pass by that room, giving support and cheering up all the staff involved in this emergency.
Like everyone else, even Bansky was forced to stay at home during the lockdown. During those days he didn’t give up on striking again, expressing his genius inside the bathroom of his home, then using the network and social media to share his action with the public. The work depicts his traditional rats that continue to reclaim spaces, despite efforts to make them disappear, just like graffiti on the streets. And this is how Banksy showed his new work on his Instagram account, made with the technique of tempera on wall, where rats
Banksy’s uniqueness lies in questioning concepts such as originality and authorship, and in outlining a new vision on the relationship between work and market, establishing, in fact, a new statute of the work of art, a new truth of art itself, that is, the original non-marketable work. Banksy uses simple tools and materials, resorting to almost banal forms and to an easy-to-understand meaning of objects. His messages feed on news and reality, his stories affect the whole of humanity. Hence the secret of its success.
Work from Home – Banksy
are performing an impressive array of acrobatic feats and defiling the bathroom. The street artist from Bristol admits: "My wife hates it when I work from home".
Until next April 2021, 100 works by the mysterious street artist will be exhibited at the Chiostro del Bramante in Rome, works that tell the way in which the British artist has dealt with political and denunciation issues with irony and intelligence ("Banksy A visual protest"). The exhibition "The world of Banksy: the immersive experience" reopened in Paris in June, after being closed during the Covid-19 lockdown. The exhibition is split into three main geographical regions: UK & US, France, and the Palestinian territories, places where Banksy has been active since the 1990s. All exhibitions are all "unauthorised": nobody knows who Banksy is and at the same time he is known for not approving any initiative showing his work. He only agrees with the goal of the exhibition, an event created to spread his message, understand the man and the artist and make people know about street art.
RECENT EVENTS
Last summer in Ferrara (Italy) the British artist was celebrated at Palazzo dei Diamanti, with an exhibition entitled “An artist called Banksy”, a path of over 100 works from private collections, which explores the Banksian imaginary, through numerous references, anecdotes, considerations and relationships between the elements. At the center, the themes dear to the street artist: war and peace, social control, freedom and all the paradoxes of our time. Among his most iconic images there were Girl with Balloon (the most loved artwork by the British according to a survey conducted by Samsung in 2017), but also Love is in 35
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THE MESSAGE
Monet’s impressionist masterpiece was first shown 15 years ago as part of Banksy’s second gallery exhibition in London.
For Bansky, the art market is speculation and he denounces it every day. When he makes a profit he gives it back, to buy a boat to help migrants in the Mediterranean for example. For Bansky, the message is different depending on where he paints: in France, the US, the UK or the Palestinian territories. In each geographical location you understand the message better. Banksy is denouncing what is wrong in a society.
It hails from a series collectively known as the Crude Oils, which include what Banksy has termed “remixes” of canonical artworks. In it, the artist takes and subverts the language of art history to recreate renowned artworks with his own style.
BANKSY’S RAPIDLY RISING MARKET EXPLAINED
THE MEANING OF THE ANIMALS - RATS AND MONKEYS
When you think of Banksy you think of "Girl with Balloon", you think of rats, it’s those sorts of images that sell really well. It’s mainly the image and the message behind the image that people are attracted to. Another factor that can influence
Most likely, the rats are the street artists. They go out at night when the sun is down. You never see them but you know they are there, generally they are underground. For the monkeys
Devolved Parliament is a 2009 oil-on-canvas painting by Banksy, replacing British politicians debating in the House of Commons with chimpanzees.
the value of a Banksy is the seemingly endless cycle of news related to the artist and his work. The steadily rising demand and prices for Banksy’s works are also influenced by the very limited supply. Typically, Banksy creates 150 editions signed by the artist and another 600 unsigned works. His artist’s proofs are now becoming more and more sought after.
we can assume - without insulting the country - they are symbol of the UK. The painting Devolved Parliament (2009) depicts the House of Commons populated by chimpanzees. In 2019, in full Brexit - a delicate moment in which the English parliament was under the eyes of the whole world - the work went up for auction, beating all records. Starting at an estimate of 1 million pounds, at the end of a long auction it was sold for over eleven million euros.
Finally, his appeal has spread across the globe, it’s not just in Britain and Europe, noting a prevalence of buyers from the Middle East and Japan. People are very much connecting with his work at the moment.
At the end of October another work by Bansky will go on sale at Sotheby’s London gallery for an estimated £3-5m. The painting, "Show me the Monet", created in 2005, is framed around Monet’s famous water lilies picture but is filled with jarring images of upside-down shopping trolleys and a traffic cone bobbing in the water. The Banksy’s version of Claude
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by Gemma Fottles
LÜRSSEN | M/Y FLYING FOX
ON BOARD THE WORLD'S LARGEST CHARTER SUPERYACHT BUILT BY THE GERMAN SHIPYARD LÜ� RSSEN TOGETHER WITH IMPERIAL AS OWNER’S REPRESENTATIVE AND BUILD SUPERVISOR THROUGHOUT THE CONSTRUCTION, THE 136-METRE FLYING FOX IS ONE OF THE WORLD'S MOST TALKED-ABOUT SUPERYACHTS. IT’S NOT HARD TO SEE WHY. ASIDE FROM HER RENOWNED BUILDER, EXPERT EXTERIOR DESIGN FROM ESPEN OEINO AND A SHOWSTOPPING INTERIOR FROM MARK BERRYMAN, UPON DELIVERY IN 2019, FLYING FOX DID WHAT FEW YACHTS OF HER SIZE AND STATURE USUALLY DO. SHE WAS LISTED ON THE LUXURY CHARTER MARKET. Photos © Guillaume Plisson for Imperial Yachts
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uilt by the German shipyard Lürssen together with Imperial as Owner’s Representative and Build Supervisor throughout the construction, the 136-metre Flying Fox is one of the world's most talked-about superyachts. It’s not hard to see why. Aside from her renowned builder, expert exterior design from Espen Oeino and a showstopping interior from Mark Berryman, upon delivery in 2019, Flying Fox did what few yachts of her size and stature usually do. She was listed on the luxury charter market. Usually yachts this exclusive remain precisely that: sealed off to the rest of the world, a paradise shrouded in mystery, promising the ultimate experience for a lucky few. But upon entering the charter market with Monaco-based management specialist Imperial, Flying Fox became the world's largest yacht available for charter. Not only does this offer a rare glimpse into life onboard a 100+ metre superyacht, but showcases precisely what is possible when the industry's most brilliant minds are combined.
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On board Flying Fox
what we did on the outside: toned down, natural teak, hardly any varnish on the railings. She's kind of Scandinavian in a way, and I like that". British designer Mark Berryman has created a welcoming space designed with relaxation in mind. A warm and natural palette throughout is complemented with fine leathers, travertine and Jerusalem stone, as well as bamboo, teak and oak flooring and furniture. Touches of live greenery enhance this calming ambience throughout the whole yacht - one of many unique design features onboard Flying Fox.
Measuring 136-metres with a beam of 22.5 metres and an impressive internal volume of 9,022 GT, Flying Fox is a big boat - the 19th longest superyacht in the world, in fact. She accommodates guests over one master cabin and 10 almostidentical VIP cabins, each designed to offer flexibility to a wide range of charter setups. With the VIP cabins located on the main deck, each cabin comes with a private sea-view terrace. Luxury living is spread across six decks connected by a custom-designed elevator, with high ceilings and open spaces still managing to deliver a sense of intimacy for her guests. Yes, all 25 of them.
Not only a unique design feature, but the added touches from the natural world also hark to the philosophy at the heart of the boat: health, wellness and spirituality. Nowhere onboard is this more obvious than the incredible spa and wellness centre. Spanning across two open-plan decks, the 400-square-metre wellness space is more than just your average spa.
"Flying Fox is a big charter yacht", explains designer Espen Oeino, "but despite the large rooms and double-height saloons, it's still a very intimate boat. Sometimes big boats may be perceived as impersonal, or even intimidating, but this is definitely not the case onboard Flying Fox. Mark Berryman did a great job with the interior, and reflected in
On the lower deck, a sea lounge with large Jacuzzi and transverse provides direct access to the sea through the impressive professional diving centre, while on the main deck, a state-of-the-art gym, beauty centre and massage rooms await. 45
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Best of the yacht life
Imperial founder, Evgeniy Kochman, says, "The pursuit of good health, wellbeing and aesthetics have been the philosophy underlying the entire wellness and spa movement. The vessel is the first superyacht to be equipped with a CryoSauna, which is a huge technological achievement". This philosophy is extended further than merely the investment in space and equipment. Included in the 54-strong-crew of Flying Fox are professional therapists and trainers, on hand night and day to deliver a tailormade recharge to each and every charter guest. Kochman continues: "The Flying Fox Wellness Centre incorporates all aspects of personal wellness using both a holistic and scientific approach. The Wellness Centre provides a personalised detox nutritional program and treatments to restore the balance of energy and to free the body from any toxins. The specialised medical staff monitor the individually planned treatments".
As can be expected of any 100+ metre vessel with these kinds of build and design credentials, there are almost countless highlights onboard Flying Fox. Aside from her five luxury tenders, cinema, helipad and a treasure trove of the latest water toys, the 12-metre main deck swimming pool is certainly a talking point. Requiring both builders and designers to push the boundaries to achieve what turned out to be a significant feat of engineering, Managing Director of LĂźrssen, Michael Bremen, comments: "The realisation of the 12-metre transversal pool on main deck aft is indeed a unique feature, and was probably the single biggest challenge of the clients brief - though there were others! It is the first time ever realised on a yacht".
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"The swimming pool has to be a highlight for me," Oeino adds. "We were all a bit sceptical at first because we thought, wow. Is this even going to work? But the yard took it very seriously, and it turned out to be one of the most impressive features on the yacht".
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Rare charter experience
Flying Fox certainly does demonstrate yachting at its finest, showcasing what yachting is really all about. As Kochman concludes, that is freedom. "It is about having the freedom to, not freedom from. Whether you want to seek out an adventure, there are all the toys and gadgets you will need and highly trained instructors to take care of you. If fine food is what interests you, then enjoy the culinary experience on board. The only limits are the ones you set and what nature dictates. Flying Fox was built with the purpose of avoiding the need for a support vessel and having everything in one… she was made to exceed all expectations". And boy, does she exceed expectations.
The experience onboard Flying Fox is certainly yachting at its finest: substantial living spaces, every amenity you can imagine, a wellness centre to rival the finest onshore establishments, a professional dive centre, a helipad authorised for the use of the largest private aircraft which can also be transformed into a dancefloor complete with a DJ alcove... This kind of access to a 100+ metre yacht is undoubtedly rare. As Michael Breman, Lürssen Sales Director comments: "The majority of the Lürssen yachts are indeed very private and generally do not allow any publicity. This is even more so for the yachts over 100 metres, of which we have built a substantial amount in the past years. It is a fortunate situation that the Owner of Flying Fox has elected to be less secretive about the yacht than his peers. It is also a unique situation that an owner of a 136-metre yacht offers his yacht for charter. This allows a select group of people to enjoy yachting to the finest". 51
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DESIGN HIGHLIGHTS Mark Berryman's Top 3 Highlights
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Ultimate wellness
The spa areas situated on the aft lower and main decks have to be one of my personal highlights onboard Flying Fox. The client loves water sports as do his guests, and he loves the fact that they have the chance to pamper themselves whilst on board. Who can blame him, this boat is all about coming on board and having the time and facilities to be able to relax and unwind. On the lower deck, we have a relaxation area with a large shell door to open up to the ocean, which is great after you have used the other treatment areas. I remember one night being invited to use the spa. We started with the cryosauna, the first chamber at -60 degrees, then into the second at -110 degrees for 3 minutes. Once out, we went straight into the hammam for 10 minutes then into the centrally positioned Jacuzzi. Then a quick walk outside the pool for 15 minutes and finally back inside to finish off in the sauna. It felt so exhilarating - I can recommend it to anyone! On the deck above, we have a beauty room for hairdressing, treatments, and nails, with a full set up gymnasium and wet and dry sauna spaces with changing rooms. This is a boat for enjoying yourself on board, almost like a floating spa.
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Green living at sea
The Winter Garden on the sun deck with the three large circular skylights letting sunlight flood into the space is one of the most unique features onboard. The two outer skylights are hinged to allow them to open. This is a fantastic feeling when sitting in the saloon with these open and the forward set of four sliding doors leading onto the deck to the Jacuzzi. When the boat is at anchor, the strong breeze flows through space - an absolute godsend in hot climates. The void to the skylights was clad with polished stainless steel, a request from the client, which allows fantastic reflective views up to the mast structure. Some unusual tricks of light and reflection allow you to see elements of the boat's exterior you'd never expect to see from that viewpoint.
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Double-height living One of the key features on Flying Fox is the double-height spaces in the main deck entrance lobby and the bridge deck main saloon. Originally, these two spaces had floors above them. In the saloon, we played for quite a while with the staircase to give access from the bridge deck to the upper deck above which made a feature of the space, but then at one of our client meetings, Imperial's Evgeniy Kochman said maybe the introduction of a double-height space would really add a wow factor to the boat. We knew that this would be a great introduction as long as the shipyard was able to look at the integrity of the structure to allow us to achieve this. We got the go-ahead and knew that to open up the starboard side saloon would be amazing.
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Espen had already given us fantastic full height windows at this section of the boat on both the bridge deck and upper deck, and we knew by losing the floor above the saloon we would have double-height floor to ceiling windows allowing the light to flood in. This was perfect for the style of the interior with its light oak and a neutral palette of colours. We love to introduce trees into our interior spaces, and this also allowed us to look at 4.5-metre examples in the entrance lobby and the main saloon. 56
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Photo: Zaniz Jakubowski, Zaniz Interiors
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by Chrissie McClatchie
Photos: © Benetti Yachts
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BENETTI | M/Y LUMINOSITY
aniz graduated from college in New York with a Bachelor of Fine Arts in Design and a dream of working for NASA. An A+ student, who had received both summa cum laude and the Medal of Honor, designing space stations seemed like a logical career step, rather than an ambitious one.
THE FINAL FRONTIER
“I had both the academic and the creative side”, she tells Superyacht Digest. On top of that, she’d spent her childhood disappearing into imaginary worlds inspired by the books she hungrily read, before trying to build them for real with whatever materials she could lay her hands on. “Since my head was always going somewhere else anyway, I thought that NASA would be the right place for me”.
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But pursuing a career with North America’s national space agency also meant returning to college to complete a physics degree. Plus, word of her talent had already spread: legendary designer Angelo Donghia was the first to come knocking and before long she was working on the refit of SS Norway. Other formative projects included hotels, celebrity homes and country clubs. “I was like a sponge that wanted to learn everything”, she says.
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She founded her eponymous studio at the age of 25 and now calls London home. While her NASA dreams have been put on hold (for now …), there are the terrestrial projects that are just as otherworldly and where, similarly, only a select few will ever get to set foot: namely M/Y Luminosity.
As with all yachts of this size, much of the luxury is in the exquisite detail: from the precious stones embedded into the floor to the signs of the zodiac, carved out in marble, hidden throughout the deck areas. “You wouldn't know where they are unless I told you because they're so small”, she teases.
The yacht is on the market with Fraser and Burgess for €225,000,000 and comes with all the trimmings you would expect with so many zeros in the price tag: a hospital, helipad, and beach club so large (230 square metres) and versatile you could live in it and hardly want for anything.
The client intended to spend extended periods of time onboard and beyond provisions for adequate storage, there was a need to incorporate versatility. “The request was to have a variety of experiences in the public interior and exterior spaces”, she explains. One such example is the owner’s foredeck area: “You can play badminton because there's a place for the net”, she explains. “Right after, on the same deck area, you can take a shower then lay in the sun or use the touch and go helipad. Then there's a bar area and table for dinner. You could live your whole day out there”.
Thanks to its PYC (Passenger Yacht Code) status, Luminosity can sleep 27 in 12 staterooms and it is also wheelchair accessible throughout. “Even to the point that the lift was designed to be large enough to take a full stretcher right from the hospital to the helicopter in one go”, she explains.
Zaniz has been involved in the project since the very beginning in 2011: not only as the sole interior designer but also as part of the team that designed the yacht’s exterior (which also included Hugo van Wieringen from Azure Naval Architects, Andrew Langton from Reymond Langton Design, and Giorgio M. Cassetta). Launched earlier this year as one of the latest deliveries in Benetti’s second “giga” yacht season, it is a 107.6-metre yacht like we have never seen before. If space is her final frontier, Luminosity is the yachting equivalent.
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EVER-EVOLVING What makes this yacht a vision of the future, however, is the way it has been prepared for tomorrow’s innovations. “The client wanted the yacht to be future proof and this was hammered into us from the very beginning of the project”, she says. Many solutions have been integrated into the vessel to allow it to operate and evolve as technology does. “The biggest future-proofing decision was to go the route of diesel-electric propulsion systems”, Zaniz says. Its battery system is the largest found on any yacht today. “This allows the vessel to operate silently for a prolonged period”, she continues (12 hours, to be precise). “The design of the system also lends itself to being converted in the future when technology such as hydrogen fuel cells are refined for use onboard yachts”, she explains. Once a solution is available, the yacht can be retrofitted by replacing the battery with the new technology while remaining hybrid.
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“Luminosity is also filled with a bespoke heat recovery system, which takes heat from the diesel generators and uses it to heat other systems onboard, such as the swimming pool, the jacuzzi, and to save on electrical power”, she continues. Other energy-saving solutions include a recovery system that allows the use of water distilled from the air conditioning systems to wash the decks.
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“We’ve managed to develop a yacht that’s technologically advanced, future-proofed, efficient and respectful of ecological issues”, she says, adding that it was also a client request to keep everything to the bare minimum in terms of serviceability and maintenance schedule. “As a designer, being told that limits what you can do, but at the same time it gives you a problem to solve: to make the designs look different with the same components”, she explains.
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EVERYTHING ILLUMINATED “Since the beginning of my career, I’ve worked crossdiscipline. I always thought that to be normal”, Zaniz says. From A-list homes to superyachts, non-disclosure agreements (NDA’s) have been as common in her career as sketch pads and mood boards. Luminosity is one of the rare projects she can talk about.
“It all started on a scrap of paper”, she laughs. By 2014, she had completed her drawings and specifications. “We started to approach shipyards”. Benetti was selected. Did she ever expect the project to take nine years? “Never”, she laughs. Flexibility, she says, was key, “to retain as much of the original design as possible”. She may have battled Benetti’s engineers over the size of the mullions, but the brief never changed: light, connection to the sea and originality. The point where this trio intersects is undoubtedly the windows which cover more than 800 square metres of the vessel: much of them floor-to-ceiling (on the main deck alone, the ceilings are three metres high). Of course, it took cutting-
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edge technology to achieve this: “There was pressure to use smaller windows because my original design had these big windows that didn’t exist”, she says. In the end, Benetti went through research and development to have them made.
There were also the intelligent design tricks used to create a feeling of light throughout the vessel both day and night: “Because light was this critical factor, we put the main interior passageways along the starboard side instead of the centre where they normally are located”, she explains. When it was impossible to penetrate the exterior of the design, fake skylights with lights were created. The beach club and certain bathrooms are some examples of this. “I used a lot of reflective surfaces and large LED wall panels, too”, she continues. Glass, “in all its forms,” she says, is her favourite material. “The sense of invisible walls and walls that are always in movement is something I’ve played with for over 20 years; this idea that I don’t want a static wall by my side to hem me in”, she says. This was a client that allowed her to explore all the possibilities of it. 65
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INSIDE OUT The yacht was designed from the inside out, a decision that came from the client. Zaniz says it was “very smart”. “That’s where you’re spending most of your time when you’re on the boat. The only person that’s really looking at it from the outside is a stranger”, she reasons. The exterior design, therefore, was influenced by the requirements of the interior. “We designed low bulwarks so that when you are seated inside you could be connected to the exterior”, she explains (the railings have, however, been designed with integrated hooks to hang up netting for when small children and animals are on board). The aft- and foredeck spaces are exterior versions of the interiors that open onto them to further ensure this flow between inside and outside. It was also a client request that this link to the exterior extend to an unlikely aspect of the design: the ceilings. “I was asked at the beginning of the project to pay a lot of attention to the detail in all of the ceilings”, she explains. For instance, the ceiling design of the master bedroom flows through to the
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ceiling of the aft exterior. A similar symmetry can be spotted in the main salon. “When you are seated in a space, sitting with friends, for example, you look up more than you look down”, she explains.
A BLACK CANVAS
“Originality was really critical for the client”, Zaniz says. “He wanted a work of art”. Yet, no matter the brief, her design process is always based on the same principle: “An understanding of the physical and psychological relationship to space”, she explains. “It is a fundamental building block in all my design work and my process of how I go through designing something”, she continues. A timeline was drawn up of the key art movements and historical events from 1920 to today, as well as into the future. An “inspirational springboard”, it was then used to create a story for each room. “This was essential to integrating a deeper meaning into the design”. A significance is attached to every feature. “Each detail tells a story, or is part of one, so that it feels like a whole”, she says. 67
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WHEN YOU HAVE THOUGHT OUT EVEN THE SMALLEST DETAIL ON A YACHT WITH A VOLUME OF 5,844GT, IS IT EVEN POSSIBLE TO NAME YOUR FAVOURITE SPACE?
To the casual observer, the connections may not be obvious, but they are everywhere. “It would take me days to explain all of them”, she says. The LED bulbs that comprise the light fixture in the main salon is a nod to Thomas Edison, while the giant eye gazing upwards from the base of the 18 metre, five-floor staircase towards the atrium skylight was inspired by the famous Man Ray Larmes (Tears) photograph. Roy Lichennstein’s pop art speech bubbles can be felt on the marble design in the rotating floor in the main salon. “One of the staterooms has a concrete wall with a gold rupture in the middle because the Berlin Wall came down during this period”, she adds.
I love that we managed the ceiling height and window sizes. And the main entrance lobby is exactly as I presented it in the concept design in 2011: open and inviting. Yet, it’s over the less visible details where her thoughts linger: such as down in the under lower deck’s temperaturecontrolled storage rooms.
“The client really let me loose with my imagination”, she reflects. “He wanted creative elements put in places where there had never been before”. Having already worked on numerous projects together, there was an inherent trust and respect that made the process easier. “The right client makes a great end product but what is also great is the journey to get there”.
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I love the flower storage. When the flowers arrive in boxes, they get unpacked into individual black storage units just like at a florist. Adjacent to them is a flower arranging area with a giant retractable foot-controlled tap for large vases so as to not damage the flowers.
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HEADING FOR THE FUTURE
AMELS 60 © DAMEN YACHTING © Scovavento
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by Julia Zaltzman
BAGLIETTO | M/Y SEVERIN*S
THE RITUAL OF CUSTOM NO STONE IS LEFT UNTURNED IN THE DESIGN OF SEVERIN*S, BAGLIETTO’S LATEST LAUNCH AND A YACHT THAT TAKES ALL WHO STEP ON BOARD ON A JOURNEY OF DISCOVERY.
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The interior design is a collaborative effort that sees the Francesco Paszkowski Design studio designing in cooperation with interiors specialist Margherita Casprini. Severin*s is one of seven interior yacht projects that have been jointly worked on by the duo and enjoys the fruits of their synchronised vision. “Made-in-Italy brand names like Minotti were selected for sofas, armchairs, chairs, poufs and coffee tables, Cassina for the bar stools, Dornbracht for bathroom fittings and accessories, while all custom-made furniture were designed by our studio”, says Paszkowski.
hat do you get when you combine Tuscan design with a Ligurian build? The answer is Severin*s, the first 55-metre superyacht in Baglietto’s new generation of displacement yachts. Fresh from the Italian shipyard in 2020, this custom-built motor yacht makes a splash inside and out. Sporting soft and sleek lines synonymous with the yard’s traditional T-line series, the yacht has been designed with charter in mind making it entirely flexible in its offering. The exterior design by Francesco Paszkowski Design studio takes inspiration from the brand’s Firenze roots in-somuch as it is a celebration of the outdoors, the enjoyment of exterior space and the appreciation of beauty. This is best exemplified by the highest point on board, namely the sun deck with its 160sqm terrace with dining, a large sunbathing area to the stern, a swimming pool and bar. “A perfect setting for soaking up the Mediterranean sunshine”, says designer Francesco Paszkowski.
A lavish central lobby with a marble lift connects the three decks. The family area is found on the main deck with a master suite including walk-in wardrobe and private office. Two further guest cabins are located on this level (ideal for a family set up), with two VIP cabins on the lower deck adjacent to the crew area. The aforementioned multipurpose area on the bridge deck features a Pullman berth, therefore serving as a sixth cabin when required. In total, the yacht accommodates 12 guests and a highly experienced crew of 13, making it room enough for guests to enjoy their own space and party in comfort, but also the perfect ratio for a well-serviced charter vessel.
A striking white and blue steel hull is complemented by the soft and sleek lines of the superstructure, while the doubleaccess 55sqm beach club is a haven of tranquillity with a steam shower, bar, relaxing area and gym, plus ample sea views. This is all afforded by storing the tender and toys on the foredeck in front of the bridge, away from key guest areas. A second larger tender is also accommodated in the stern garage.
The main deck salon aft is the place to unwind in style. It features teak decking leading to an ‘in and out’ area, with the option to be fully open or closed by way of a window for a more intimate feel. It also transforms into a cinema lounge, equipped with a large screen that pulls down from the ceiling. A bar area and additional dining for 12 completes the offering.
Little has been left to chance, including the furniture that has been selected for the exterior. Shining a spotlight on key brands, such as Belgian brand Tribù, whose Tosca daybed, armchairs and sunbeds sit alongside its Nomad pouf and Hexagon coffee table with great aplomb. Leader of highquality contemporary outdoor furniture, B&B Italia, has dressed the upper deck with a modern offering of table and chairs for comfortable dining. And on the opulent sun deck the choice of custom-made u-shaped sofas keeps a consistent design language inside and out.
In terms of finishes and aesthetics, no details has been left to chance. Brushed larch with a 3D texture is found on the walls, paired with dark oak flooring. Travertino and Golden Spider marble is found in the lobby and Bardiglio marble for the sun deck bar counter. Sumptuous leather by Foglizzo has been used to customise the already intricate Turnstyle Design door handles, as well as applied to the bedroom headboards. A second hard leather in dove grey has been used for the bar counter on the upper deck, and in contrasting anthracite on the main deck. Even the upper deck bar counter features bronzed glass, with grey glass on the main deck option.
The upper deck where the wheelhouse is located features an integrated bridge system by Telemar and the captain’s cabin. But it’s the full-beam area aft with its unique multifunctional use that stands out. Easily converted into a massage room, playroom or a living room, it is adjoined by an aft terrace with enough room for 10 guests to comfortably dine. And after the meal, a bar and relaxation area to enjoy. 71
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MAIN SALON © Sargentini
Q&A
Severin*s is a yacht that showcases an endless pursuit of detail. Materials and finishes that clash and collide in harmony, and always with a purpose. The wood and stone flooring is dressed in carpets and hard leather to delineate and highlight the different spaces on board, or at times to echo a key interior detail. For example, the staircase near to the glass lift features dark oak for the steps with stainless steel side outlines and Alcantara stripes. The steps feature bronze mirror rises, and Alcantara is also used on top of the handrail. And in the main deck dining area, the shape of the stone flooring matches the table shape and the ceiling shape to better outline the dining area.
WITH FRANCESCO PASZKOWSKI SD: "What was the design inspiration behind Severin*s?" FP: "The design of Severin*s, the first Baglietto 55-metre, was focused on representing the contemporary generation of displacement yachts while retaining some of the traditional style elements, such as the side air vents at the stern, that have made the brand famous and instantly recognisable throughout the world. Being familiar with the Baglietto story means we were able to start from a privileged position regarding research, and the synergy we established with the yard was a great support for us in creating the new yacht and turning the owner’s wishes into reality".
“The lift lobby features a Golden Spider marble ‘column’, which ascends from the lower to the upper deck and houses the glass lift”, explains Paszkowski. “The stone flooring matches with the walls surrounding the lift, which features glass walls, to delineate the lift area”.
SD: "What are Severin*s key features?"
With a fuel capacity of 93,000 litres and twin Caterpillar engines with 2,000 kW each, Severin*s achieves a top speed of 17 knots, with a range of 4,500 nautical miles at a cruising speed 12 knots. Powerful, comfortable, elegant and with design placed at the fore, Severin*s makes for a unique proposition, both as a custom build and as a charter offering.
FP: "We focused on several fundamental points – the shapes, superstructure, surfaces and the exterior spaces with special emphasis on the sun deck, the stern, and the idea of contact with the sea, which we obtained by lowering the gunwales on the main deck and creating several alfresco areas". 75
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THIS PAGE: Stairs © R. Borgenni | NEXT PAGE: Owner’s cabin © Sargentini
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THIS PAGE: Stairs © Sargentini
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(above) Sky Lounge © Sargentini, (below) Sky Lounge, detail © Borgenni
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PG. 80 (above) Sun Deck, (below) Upper Deck - THIS PAGE: Beach Club © Sargentini
FP: "Polished and matt oak were used for the floor, combined with brushed larch which was selected for the walls. Travertino and Coffee Brown marble (the latter only used in the owner’s bathroom) enhance the welcoming vibe in the bathrooms. Invisible Gray Gold Marble with inserts in mirrored bronze and fumée glass decorates the custommade bar counters on the main and upper deck and the floor of the dining, while Golden Spider Marble was selected for the lobby.
"The central section of the superstructure is rounded, sloping fore and after, making it almost invisible from the sun deck. Combined with a transparent outer perimeter, the view is uninterrupted in all directions, and this enhances visual contact with the sea and the surrounding environment". SD: "What specific requirements did the owner have during the design and build stage?"
FP: "Severin*s’ owners had precise ideas about how their yacht interior should look. The owner’s brief was for a welcoming and elegant interior, and this was achieved by putting an emphasis on the dominant light neutral hues, designing some unique furniture pieces, and matching the same materials in different ways while keeping a consistent atmosphere throughout.
Careful attention was given to all materials to be used for the details on board, such as the soft leather used for the handrail, the lateral sides of the indoor staircase steps or for customising the door handles; the bronzed metal finish used for the walls surrounding the bedside tables; the custommade wooden metal-look wall surrounding the dining area; and the lacquer and wallpapers used throughout, just to mention a few. The Lighting system also underwent a deep level of research and includes LED stripes and backlight solutions".
The owner liked being involved in the choice of materials and colours that we proposed, and they appreciated the sober yet sophisticated vibe that we proposed, combined with some peculiar modern design elements that make the interior unique. It is a mix of details which provides an elegant and contemporary feel".
SD: "What key materials have been used on board, inside and out?"
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by Julia Zaltzman
FERRETTI GROUP | CUSTOM LINE
SUPER FLY
LAUNCHING NEW LINES ALMOST AS FAST AS THEY CAN SELL THEM, CUSTOM LINE’S WAVE OF SUCCESS SHOWS NO SIGNS OF SLOWING DOWN, EVEN IN A POST PANDEMIC WORLD.
Antonio Citterio © Stefano Ferrante SUPERYACHT DIGEST | October 2020
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Patricia Viel © Giulio Boem October 2020
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here are custom yachts, and there are Custom Line yachts. The latter has come far since its initial introduction in 1996 as the latest development of the Ferretti flybridge fleet. Starting out in lengths of 12 to 25 metres, its niche now lies in lengths ranging from 30 to 42 metres with seaworthiness, comfort, safety and of course its namesake customisation, at its core. As demand increased and designs evolved, the brand, which has always strongly benefitted from the support of architects and designers in the Ferretti Group Engineering Department, soon divided into two clear offerings; that of planing and semi-displacement yachts, but always with an owner’s tailored preference at the heart of its offering. To date, Custom Line has created more than 20 models in its 24 years of activity, but its 2020 offerings may be its best yet.
the fleet in autumn 2020. Already in the pipeline, the Navetta 48 project, which was unveiled at the 2019 Monaco Yacht Show and is poised to be the brand’s future flagship, will be officially launched in 2024.
The eagerly awaited Custom Line Navetta 30 is the first yacht with an interior design scheme by the prestigious Milan-based Antonio Citterio Patricia Viel architecture firm and an exterior design by the celebrated Filippo Salvetti. Incorporating significant new technical and design features, the latest design offers some new and unprecedented solutions for the brand.
At present, the planing line consists of the Custom Line 106’ and Custom Line 120’ models, with the new Custom Line 140’ project expected to be available in 2022. The semidisplacement line includes the Navetta 33, Navetta 37 and Navetta 42, with the much anticipated Navetta 30 joining
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All Custom Line models are built at the Ferretti Group’s superyacht yard in Ancona, Italy, but the Navetta 30 is an evolution of its foresisters. With a length of 28.43 metres and a beam of 7.3 metres, the classic profile of the yacht places the emphasis on the way the lines stretch out horizontally, drawing the eye away from any vertical connection between the decks. It’s also the first time that the drop from the superstructure on the upper deck has been shortened near the glazed window of the owner’s cabin to give the yacht a more streamlined shape.
Navetta 30 - sketches
“One of the most striking aspects of the Navetta 30 is a gap between the hull and the superstructure, which has been created by raising the joints with the upper deck to form two clearly separate parts”, says Stefano de Vivo, CCO of the Ferretti Group. “Great prominence has been given to the connections between inside and outside areas, too, with the former having been opened up to the exterior as much as possible to offer broader, more panoramic views reaching out over the sea to the horizon”. Large glazed windows in the hull and superstructure are matched with deck heights of more than two metres and spacious areas forward and aft. Prominence has also been given to the connections between inside and outside areas, but it’s the impressive volumes where this project really begins to come alive. Three decks are unprecedented for a Custom Line yacht of this length. The “wide body” configuration allows for a full-beam owner’s suite and lounge on the main deck, with an additional four VIP cabins and crew area on the lower deck. A dining area and lounge on the upper deck provides access to the integrated bridge that is located further forward, while a generous sun deck and an optimised hull “designed not only to host very large spaces but also to offer superb performance and minimize consumption” complete the package.
Filippo Salvetti
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Navetta 30, interiors, main deck, living area. (below) Sketch and visual (texure mode) by Antonio Citterio, Patricia Viel PG. 86 (below): Sketch, outdoor details, stairs, lighting, and sofa
"The interior design was developed in partnership with the engineers and architects who designed the hull of the yacht”, states Patricia Viel, co-founder of Milanese architecture firm Antonio Citterio Patricia Viel. "BIM enabled us to control every single volume perfectly, thus ensuring that the lighting and interior design schemes fit in flawlessly around the shape of the hull”.
The contemporary interior features curved lines on the furniture and window frames that give the design a modern aesthetic. Vibrant “sporty chic” carbon detailing is paired with surfaces made from quartz fibre combined with fibre glass. The entire effect is that of customised textures, sophisticated lacquer and fabrics with ultramarine blue stripes. Built-in furniture features natural leather, solid wood and plywood, showcasing a wealth of artisanal craftsmanship. The Navetta 30 may be the smallest displacement yacht in the Custom Line range, but its interior has been designed with a focus on the use of space, in order to optimise the volume and surface areas.
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“From the interior design point of view, the Navetta 30 is an exercise in virtuosity between metrics and dimensions of different spaces”, says de Vivo. “The convivial spaces, outdoors and indoors, have the dimensional scale of a much larger unit, the individual and private spaces have instead been designed with the precision of the inlay work. The nautical tradition and the sea itself were at the core of our interior design project. And the relationship with the space is a further crucial element: especially on a yacht, space is limited, and every single piece of furniture and each detail need to adapt to the space”.
A total of 386 metres of new Custom Line yachts touched the water in the first six months of 2020. Out of the 19 launches it had planned for 2020, 11 had already taken place by July, with the next eight scheduled to take place before the end of the year at the Ancona shipyard. The Custom Line yard has five dedicated work sheds spread across 80,000+ sqm with a private marina that extends over 23,000 sqm of water. All of its yachts undergo their final fitting-out and completion work at the Custom Line docks, followed by testing and sea trials. No less than 21 yachts are currently under construction (at the time of writing), with 13 in the sheds and eight at the completion and dock testing stage prior to delivery to their owners.
Equipped with twin MAN I6 800 mph engines as standard, the Navetta 30 is ideal for travelling long distances with low fuel consumption, putting its performance wise at the top of its class. Expected to reach a top speed of 14 knots with a transatlantic range of 2,150 nautical miles at a fuelefficient cruising speed of 10 knots, it is sure to be a popular choice with existing and future owners. However, far from resting on its laurels, Custom Line has been pushing the boat out on sales and launches, reporting record numbers throughout 2020, even in the current Covid-19 climate.
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It’s little surprise that Custom Line has announced record sales this year, with four yachts sold in July 2020 – a new personal best for the superyacht builder; a Navetta 42, Navetta 37, Navetta 33 (displacement line) and a Custom Line 120’ (planing line) totalling 150 meters in length. The figures pay testament to both the brand’s ability to build quality yachts with high appeal, but to offer designs that tap into the growing lifestyle of superyacht owners the world over.
Navetta 30, exteriors
Q&A STEFANO DE VIVO, CCO FERRETTI GROUP, TELLS SYD MORE ABOUT CUSTOM LINE SD: "Which global market, in terms of nationality, client and region is the Custom Line brand strongest with?" SDV: "Europe and the Mediterranean Sea in particular are the traditional areas of preference for the brand, which over the years has been the choice of numerous owners in the Middle East as well, where the remarkable comfort offered during both sailing and at anchor is very much appreciated. Also, Custom Line has carved out a significant portion of the market on the American continent (both North and South America) thanks to the many fabulous spaces devoted to relaxation and fun. Custom Line is also one of the market leaders in the Far East, and particularly in China and Hong Kong, because of the remarkable quality of its models, together with the undisputed strength and reputation of the Ferretti Group. Here, every introduction of a new model expands the field of impassioned owners who are enticed by the majesty, beauty and elegance of these masterpieces of the sea".
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SD: "How has the brand evolved over the past decade? What impact has Covid-19 had?"
Navetta 48 project were unveiled. Both future flagships – for planning and Navetta lines – will officially be launched between 2022-2024".
SDV: "The Custom Line shipyard in Ancona is open and fully operational and we have recently announced the eagerly awaited Custom Line Navetta 30. In this latest period of time, not only have we not had any cancellations, but we registered a significant increase in our order book. Confirming this is the recent sale of four new yachts in July alone: A Custom Line Navetta 42, a Custom Line Navetta 37, a Custom Line Navetta 33 and a Custom Line 120’. This is a really notable result for the brand. Furthermore, Custom Line recently announced the launch of 11 yachts in the first quarter of 2020".
SD: "How does the Navetta 30 compare to other yachts in its size range?"
SDV: "The Navetta 30 is the first Custom Line vessel to boast a combination of exterior design by architect Filippo Salvetti and interior design by architecture firm Antonio Citterio Patricia Viel. This project breaks new ground in many significant ways, starting with the incredible volumes: its three decks are unprecedented for a yacht of this length. In addition, for the first time, the drop from the superstructure on the upper deck has been shortened near the glazed window of the owner’s cabin, giving the yacht a more streamlined shape that is even racier and sportier".
SD: "What new models are currently being developed?"
SDV: "The latest project that we launched is Custom Line Navetta 30, the first yacht with an interior design scheme by the prestigious Antonio Citterio Patricia Viel architecture firm and exterior design by Filippo Salvetti. It will officially make its début in Autumn 2020. And at 2019 Monaco Yacht Show, the Custom Line 140’ project and the
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Navetta 30, exteriors
SD: "What investment and reorganisation has Custom Line undergone in recent times?" SDV: "Over the years, the Group has made significant investments in Custom Line enabling it to become one of the Group’s most important brands and its biggest revenue generator due to the size of its yachts. I believe that everybody makes nice boats nowadays, but it’s the details that really make the difference – and that’s why Custom Line has become so important.
In past years, the 30 to 40-metre-sized yacht segment has done very well and there has been greater demand for displacement vessels offering a significant level of space and comfort, which are precisely the features of our Custom Line boats. In 2016, Custom Line began a new era thanks to a joint project with Francesco Paszkowski Design and we created Custom Line 120’, the first member of a new series of planing yachts, which was subsequently followed by the launch of Custom Line 106’ in 2019. Regarding the Navetta line, 2019 signalled a new start, with the involvement of architect Filippo Salvetti in the exterior design and the prestigious architecture firm Antonio Citterio Patricia Viel for the interiors".
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Heesen’s 50m Aquamarina - Omega Architects
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by Julia Zaltzman
OMEGA ARCHITECTS
DESIGN OF THE TIMES
OMEGA ARCHITECTS HAS SUCCESSFULLY CARVED OUT A NICHE FOR ITSELF BY DELIVERING YACHT DESIGNS WHERE CREATIVITY IS BALANCED WITH HUMILITY AND EXPERIENCE. THE RESULT IS CONTINUAL AND PROLIFIC SUCCESS.
“O
ne of our signatures is that we make mid-leaning designs, meaning that the optical centre of gravity of the yacht’s superstructure is somewhere in the middle”, explains Frank Laupman, founder and director of Dutch studio Omega Architects. Focused on creating architectural design for both land and sea, the creative design firm is one of the most prolific in its field. Laupman has made a name for himself and his studio as one that does not adhere to a specific style, but instead fine-tunes its designs to the style and requirements of each specific commission. Listening to the briefs from owners, captains and shipyards, it follows a set design process that results in the very opposite to fixed design; one of fluidity, adaptability, innovation and stylistic independence.
The team of architects and designers within Omega work as one, exchanging their thoughts and learning from specific expertise and experience within the group to create an aesthetic that contains a “shared identity”. The portfolio encompasses land-based architecture, interior and exterior yacht design, but it is the latter where Omega has truly carved out a niche.
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The aforementioned “optical centre of gravity” designed to draw the eye to the middle of a yacht is in reference to its design of Dutch shipyard Heesen’s 50m fast-cruising aluminium semi-displacement yacht, Aquamarine. Defined by its “crisp design language”, it is the first in the yard’s new 5000 Aluminium Class, due to deliver in January 2021, and forms part of a long line of Omega-designed Heesen exteriors.
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This is due to the high position, which means the sight line measured over the bow is less than half the ship’s length. For entertainment on the sun deck aft there is lounge seating a jacuzzi and bar.
“It’s part of the secret as to why Aquamarine is so aesthetically well balanced”, continues Laupman. “At the same time we use ‘arches’ to visually glue the superstructure together with the hull, which we refer to as the integrated hull and body design. We first introduced this feature on Heesen’s Galactica Star, but with Aquamarine we have made it sportier; a petite version”.
In Laupman’s opinion, together with the louvre-shaped overhangs, the wing stations form an integral part of Aquamarine’s identity. “Because of her forward tendergarage, the aft beach club offers guests an entertainment area near the water level. The vast area offers a gym with a folding side hatch, and it also has a centreline cinema area facing inward and a bar area facing out to the swim platform”.
The spacious owner’s area on the fourth deck features a large bathroom and walk-through wardrobes. Going aft, the sky lounge on the owner’s deck is versatile, too, serving as a private lounge with the option of entertaining guests if desired. “The space has two zones, one for seating with panoramic views and an inward-looking part, which serves as a ‘home cinema’”, says Laupman.
“An interesting feature is the fore deck dining table, which pops up from the deck to be covered by a separate Bimini”, he adds. “When she lowers, the deck remains flush and spacious, ready to take loungers or other means of relaxation, and for hotter days, guests can be entertained close to the water’s level in an extensive beach club”.
“Going aft again, the sky lounge opens up and offers an expansive open-air dining and seating area. The wheelhouse on the upper fifth deck offers a memorable view on the bow”, adds Laupman.
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Heesen’s 50m Aquamarina - Omega Architects
Laupman has drawn the exterior design for so many Heesens – each one defined by singular design features – that you could be forgiven for believing that the studio works exclusively for the Oss-based shipyard. The relationship in fact stems back to Laupman’s early days within yacht design, when after cutting his teeth with naval architect and designer Pieter Beeldsnijder, he joined the Heesen in-house team. Laupman refers to it as being a formative time and the place where he started to combine his production management know-how with actual yacht design.
designing smaller vessels for Omega’s German clients, not to mention a new build project for commuter vessels for Lake Geneva, currently under construction at CGN Switzerland and for one of Omega’s ship-owning clients in Lausanne.
“We have around 15 vessels in preparation at the moment, of which 13 are currently under construction”, says Laupman. “We build in Turkey, Italy and our beloved Holland, and four of our current projects are 60m designs”.
Though his ties with Heesen remain strong, since forming Omega Architects in 1995 Laupman has gone on to spread his wings far and wide. At present, Omega designs are proliferating at Hakvoort in Holland, too, where the yacht is building a highly intricate design for a European client featuring side boarding tenders and a submarine garage – “it’s sporty and powerful”, enthuses Laupman. The studio is about to embark on a collaboration with Workum in Holland,
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CRN 62m - Omega Architects
“The iconic profile of the CRN 62-meter clearly shows it’s a member of the OceanSport series, which we began four years ago”, explains Laupman, “but with its own unique character, including an elegant arch aft and superstructure design that offers protection against the elements and provides privacy on the aft-facing exterior decks. This collaboration with CRN began after we launched our client’s vessel, 73m Yalla in 2014. The 62-metre is the first model under construction, which will be followed by the 52m CRN, the second in build. The sale of the 52m was announced in July 2020”.
ONE SUCH 60-METRE PROJECT IS THE MOST RECENT OCEANSPORT MODEL THAT OMEGA DESIGNED FOR ITALIAN SHIPYARD CRN. LAUPMAN REFERS TO FINDING “A UNIQUE DESIGN LANGUAGE” FOR CRN’S CLIENTS IN ANCONA WITH THE OCEANSPORT MODELS, BUT THE LATEST 62-METRE FIVE-DECKED DESIGN IS A CUT ABOVE THE REST.
The yacht’s five decks - comprising four decks and a sub deck that houses two cold rooms, storage facilities and the laundry - have paved the way for an “interesting layout” with “a very long superstructure”, says Laupman. An expansive beach club on the lower deck aft incorporates a music platform for both live bands and DJ sets, while a self-contained office resides on the main deck. 97
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CRN 62m - Omega Architects
IT’S FAIR TO SAY THAT THE ESSENCE OF LAUPMAN AND THE HEART OF THE OMEGA STUDIO IS ‘CONCEPTUAL THINKING’. INNOVATIVE CONCEPTS ARE THE LIFEBLOOD OF THE YACHTING INDUSTRY, A PLACE WHERE IMAGINATION CAN RUN WILD AND NEW IDEAS CAN BE FREELY EXPLORED. FOR LAUPMAN, NEW CONCEPTS KEEP HIS MIND FRESH, HIS THINKING ON THE PROGRESSIVE CURVE, AND HIS WORK A CELEBRATION OF DESIGN WITH STRUCTURAL PARAMETERS.
In addition, a huge double owner’s suite that can also be divided into two VIP suites provides the unusual option for two owners to share without compromising on space, location or privacy. A further six cabins on the lower deck, including a third VIP cabin, make the design the ultimate floating home for up to 16 guests. Turkey is another area where Omega has flexed its muscles, working with multiple shipyards on multiple projects at any one time. “Nozomi II is a 32m platform which we have in build at Alia Yachts in Turkey, and we are also expecting a letter of intent from them any day for a successor to 60m Samurai delivered in 2016”, he reveals. “We’re building a 44m unique-designed raised pilothouse vessel for our client at Venture Yachts in Turkey, too”. 99
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Frank Laupman - Omega Architects
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Q&A FRANK LAUPMAN TELLS SYD MORE ABOUT THESE NEW PROJECTS WITH HEESEN YACHTS AND CRN SD: "Aquamarine is the first yacht in Heesen's newly designed 5000 Aluminium Class - how does she differ from previous models?" FL: "The new Heesen Aquamarine follows on from the successful previous 50m Satori type of vessels and has an elegant yet powerful design language. It is different from Satori, with more tension in the curved planes and chiselled edges where the planes meet. The language differs from the award-winning Home, too, offering a more organic way of assembling her shapes to create unity and harmony. At the same time, she honours Galactica Star by way of her ‘integrated hull and body design’. The design plays with the sculptural properties of the superstructure, allowing her guests to have great views out to the environment". SD: "What are Aquamarine's key design details?"
FL: "The arches at the aft of the superstructure give protection to the shaded aft decks, but at the same time open up the aft deck overhangs. The stern and main deck aft have been lifted to offer a raised sun padded area, connected by steps to the aft deck bar and seating area. Under this raised area we were able to lift the floor of the beach club and create an even floor, flush to the swim platform once it hinges down. It creates a larger, more comfortable beach club area. The exterior decks have been arranged with loose furniture and with ‘multi-material detailing’. Because of the yacht’s domestic character, the loose furniture offers a sense of space on these decks and flexibility. Although Aquamarine has the traditional bow with moderate rake for an elegant appeal, we think that we managed to find the right language to prolong the 10 year-long success we have enjoyed with the Satori-class of vessels". SD: "Tell me about the defining features of the 62m CRN?"
FL: "Generally, the 62m shows edgy lines for a relatively sporty exterior with a large aft leaning superstructure and a pure vertical, relatively long bow with flush forward deck. Note that she is a five-deck motor yacht, meaning that she has five fully enclosed decks, including her sub lower deck. The CRN 62 stands out in terms of volume and living space, without losing her sporty character; she accommodates 12 crew, plus captain and an additional 12 guests and owner. Rather than key design features, however, we believe it is the yacht’s set up that features her architectural quality. The layout is designed to have good separation between the owner’s area and guest areas. This is mostly featured in the layout of the fourth and fifth deck, for the owner and wheelhouse, respectively".
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Sergio Cutolo - HydroTec
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by Gemma Fottles
INACE | HYDROTEC
THE FUTURE OF EXPLORATION HOW BRAZILIAN SHIPYARD INACE ARE MAKING WAVES WITH THEIR TWO NEW EXPLORER SUPERYACHT SERIES: THE AVENTURA AND THE EXPLORA
I
nace has been building boats for over 50 years. When it comes to the exclusive business of superyachts, however, you would be forgiven for not immediately thinking of the Brazilian shipyard. But with the 2020 launch of Inace's dedicated Superyacht Division offering two explorer yacht series designed in collaboration with award-winning Italian superyacht designers, Inace has set course to become one of the biggest names in luxury exploration. With a long maritime history building sturdy, oceangoing commercial vessels from navy vessels to trawlers, the Inace yard opened its doors in Fortaleza, in the Brazilian state of Cearรก in 1968. Entering the luxury boat
building business in 1987, more than 45 superyachts have since been delivered to clients all over the world bearing the Inace name: the 41-metre Lady Jade, the 26.21-metre Joana and the 35.48-metre Zulu to name but a few.
The very first dedicated Inace series, however, offers something completely different to the yachts Inace has built over the years. The Explora and Aventura series presents a refined package to owners, answering a growing demand for oceangoing explorer yachts combining excellent design and expert engineering for extensive periods at sea.
INACE 145 EXPLORA
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Creating the ultimate explorer
with four models ranging from 30 to 47 metres featuring traditional lines. The Explora line features five models from 27 to 50 metres, taking the same explorer capabilities and forming it into a more contemporary and aggressive design for a more modern package. "The Explora is a more contemporary but military look, with plumb bows, straight lines and vast open spaces to carry a multitude of toys," says Constantino. "Then we created the Aventura, which are also oceangoing expedition vessels, but with more traditional lines: flared bows, more internal volume, more classic looking and an Italian flair".
Inace's fleet of luxury yachts is defined by their rugged designs and sound construction, with the yards' extensive experience in building imposing vessels of military-grade quality evident in every boat. To push the yard's international image and give the Superyacht Division the edge it needed to compete with European shipyards, Director Flavio Constantino knew that it was time to collaborate. "Despite the age and experience of the shipyard and all the vessels it has built over the years, we knew that we needed to have more international names connected to this yard to make us more attractive to the superyacht market", he says. Teaming up with international designers for the Aventura and Explora series made it crystal clear that the new Inace Superyacht Division meant business.
HydroTec is responsible for the design of the two flagship yachts: the Aventura 130 and the Explora 145. With a strong engineering background teamed with a portfolio comprising some of the world's best luxury yachts, Sergio Cutolo, founder of HydroTec, was the ideal designer to kick off Inace's new explorer series. In fact, as an award-winning Italian designer as well as a specialist naval architect and engineer, Constantino describes Cutolo as "the perfect partner". "Throughout the development of the series, we realised that we really speak the same language as the Inace team", Cutolo agrees. "They accept no compromise in quality - they build military boats, so they are used to delivering uncompromising quality. Explorer clients today are much more specific when they choose their design - I actually compare it a bit with sailing yacht clients. They want to look at the technical details, and they care about naval engineering. A client for an explorer is looking at the technical elements because they want to be able to cross the ocean, and a commercial shipyard like Inace is the best to deliver that".
Both series feature designs from the Italian studios of HydroTec, Hot Lab, Guida Design and Fernando de Almeida Design. "We decided to create two different families to the Superyacht Division", Constantino explains. "We identified that there are two very specific clients in the general explorer niche. The ones that are looking for something more contemporary, more aggressive while others are looking for a traditional vessel with long-range and autonomous capabilities. Our superyacht explorer lines appeal to both". The Aventura line appeals to the classic explorer client,
INACE 145 EXPLORA
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Built for adventure: Explora 145
tank spaces and safety", continues Cutolo. "These things are the key features on all of our boats. We design boats for adventurers: people who want to cross the ocean". With discussions already in place with a repeat Inace client for the first Explora 145, the collaboration has clearly worked, oozing instant appeal to the ocean adventurer.
The future of exploration
With both flagships, Cutolo says that the mutual confidence between the yard and studio resulted in an open brief. The outcome is a series of sturdy luxury explorers, with a wide range of semi-custom options - including the choice of a dedicated owner's suite on the upper deck or the possibility of two equally sized owner's suites on the main deck. As Cutolo describes, "We've created a flexible space where owners can create their own layout according to their lifestyle".
The fusion of Italian yacht design with military-grade construction capabilities is a winning one - particularly in the age of COVID-19. With the Coronavirus pandemic forcing people to rethink everything from business to homelife to travel, this winning combination becomes even more apparent. The Inace explorers cater to a distinct shift in what explorer clients are looking for in the future: dependability and autonomy. "With this pandemic, we've noticed a shift in the psychology of yachting and an increase in concern with safety and the future", Constantino agrees. "How many people have isolated themselves on their yachts during the pandemic? We've already had people enquiring about boats with the ability to spend extensive periods of time onboard".
He adds, "With the Explora 145, the fact that on a 45-metre, 500 GT yacht you can have the choice of six cabins with two almost-equal master suites is something that I'm sure can be appreciated by clients that would use the boat for corporate purposes or for charter. The explorer today is a box, and the owner can fill this box according to his or her life."
The Explora 145 is a boat made for autonomous cruising in complete comfort and safety. Built to RINA class in steel and aluminium, she has a maximum speed of 14 knots, a cruising speed of 10 knots and an impressive range of 5000 nm. In addition to her high levels of flexibility in design and oceangoing technical credentials, one of her defining features is her large internal volume, maximised by a generous beam.
More and more yacht clients are looking for explorers not because they want to travel to the most remote destinations on the planet, but because they want a reliable, safe place where they can spend a lot of time onboard and travel autonomously.
"The 9-metre beam gives you stability, volume, long-range
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Even shipbuilders in Turkey who are quite well known in the yachting world have struggled to compete with the Northern European yards. People think that we are a long way from the competition - despite the Inace yard being just a 7-hour flight either from Miami or from Spain. But it's amazing", Constantino says.
Constantino continues: "Many of these clients are not going to use their explorers to go on crazy trips to the extreme poles of the planet, but they are going to use it to spend more time on board, with the peace of mind that the boat can take a much heavier sea and keep them safe". The Explora and Aventura lines certainly deliver that, with the reputation and expertise of a commercial shipbuilder working to appeal to the needs of an ever-changing future.
"WHEN BROKERS COME TO THE YARD, THEY ARE IMMEDIATELY IMPRESSED BY THE HISTORY OF THE COMPANY. IT CONFIRMS OUR INITIAL CONCERN THAT OUR COMPANY HAS A HUGE HISTORY, BUT NOBODY KNOWS ABOUT IT. AS SOON AS THE BROKERS HAVE SEEN WHAT WE CAN DO, THEY GET EXCITED ABOUT US AND CONFIDENT TO PRESENT OUR EXPLORERS TO THEIR CLIENTS. I BELIEVE IN OUR BOATS, AND WE ARE ALL PASSIONATE ABOUT WHAT WE DO. WE'RE EXCITED TO SHARE THAT WITH MORE EXPLORER CLIENTS AS WE GROW IN THE FUTURE".
Though competition with European and North American yards is tough when it comes to the luxury explorer yacht market, Constantino is convinced that as what people use their boats for changes, so will their priorities when it comes to selecting the perfect shipbuilder. Instead of prioritising a brand name, future explorer clients will increasingly prioritise expert engineering, seaworthiness, true explorer capabilities and, of course, price. "We are building boats exactly as the mainstream European yards are, from suppliers to designers to equipment and materials. But there is a difference: because of the labour costs in Brazil and government incentives for exportation, our products are 30% less expensive than similar European products," Constantino says. "This is the biggest difference of all. All of the important parts are exactly the same, but our costs are less. This is where we are planning to be very competitive and to get our market share".
With discussions ongoing for several models in Inace's innovative new explorer lineup and the first two Explora 90 models already under construction and set to launch in 2021, Inace could well be the explorer builder to look out for in the years to come.
The value that Inace offers yacht owners looking for a futureproof explorer yacht is undeniable - though the challenge of competing against the biggest and most established explorer superyacht builders is a daunting one. As Constantino points out, "Let's be honest: we are not a European shipyard.
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by Pamela Paci
Photos © Azimut Yachts
AZIMUT YACHTS | MAGELLANO 25 METRI
INTERNATIONALLY RENOWNED ARTIST AND ARCHITECT VINCENZO DE COTIIS DEBUTS IN THE NAUTICAL SECTOR INTRODUCING A NEW AESTHETIC DIMENSION IN FULL RESPECT OF THE GREAT HERITAGE OF AZIMUT YACHTS’ MAGELLANO. WITH KEN FREIVOKH BEHIND THE TIMELESS ELEGANCE OF THE CHIC AND SOPHISTICATED EXTERIOR LINES, MAGELLANO 25 METRI HAS BEEN DESIGNED WITH A SPECIAL FUEL-EFFICIENT DUAL MODE HULL.
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Magellano 25 Metri in Portofino (September 2020)
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nown and appreciated all over the world, Architect and Designer Vincenzo De Cotiis debuts in the nautical sector signing the interiors Magellano 25 Metri, part of the Grande collection. In this project he has expressed the characteristic features of his stylistic figure - open spaces, fluid and airy, material contrasts and an unusual and advanced expressive language – preserving the idea that a boat belongs to the sea and not to designer. The main challenge was not to betray the marine character of the boat, that is trying to interpret the nautical object with an artistic approach without letting art prevail on functionalities and livability on board.
Among the surprise elements, there is the ornamental use of glass fiber, which De Cotiis who is a passionate about new materials, often marked by time and wear, has used for years to create objects with organic shapes and material surfaces. For the first time, therefore, the fiberglass is ennobled and assumes a non-structural but purely decorative function: worked on sight, expresses its raw soul in contrast with decidedly more precious materials, as De Cotiis used to do for his refined works, halfway between art and design. With the aim of tracing a new aesthetic dimension without distorting the functional characteristics of the entire range, De Cotiis has done a skillful job that, having passed the simple furnishing process, has become an articulated architectural project capable of combining aesthetic and stylistic research with the focus on perfect environments for life on-board. The result is an extraordinary layout for a 25-meter boat, which offers great comfort and guarantees absolute privacy between shipping magnate and cabin crew, essential elements for very long cruises, typical of the Magellano fleet.
The original, innovative, creative – artistic – approach by Vincenzo De Cotiis Architects has led to the creation of an amazing design project, fully in harmony with the refined and timeless exteriors of the Magellano Collection. The collaboration between Azimut Yachts and Vincenzo De Cotiis Architects marks an important new chapter in the evolution of design on board, giving life to a very original expressive refined language with a great character, which, destined to become a new tendency. 111
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THE PARTNERSHIP WITH DE COTIIS SPRINGS FROM THE BRAND’S DESIRE TO REACH A NEW MILESTONE BY CREATING FOR THE FIRST TIME EVER A YACHT THAT ISN’T A CONTAINER FOR ART, BUT A SEA’S WORK OF ART.
lengthwise and the living area is based on the concept of organic geometry, with different shapes sofas that offer different depths. The interior furniture recalls the shape of the dry bar outside creating an indoor-outdoor connection in order to get the sensation of a unified space overlooking the sea. Still on the Main Deck, the stairway is clad with mirrors to “dematerialise” it and, by reflecting the light, the view of the sea became an inner part of the yacht.
The Vincenzo De Cotiis Architects Firm has worked hard on the perception of the depth of spaces, creating environments without excessive separations, both to allow a continuous visual contact with the sea, both to propose a wider scope than the typical size of a boat. The most strikingly original setting is the huge saloon in which De Cotiis strives to increase the perception of depth. Designed to offer a view of the sea from any point, the space is no longer confined by a classic rectangular floor plan and is flooded throughout with natural light.
The materials used in the living room area raises on the classical nautical world: wood in lacquered and cannulae version, brass, fiberglass and some mirror inserts. The dunnage is made of wood. The table and other loose furniture items are part of the De Cotiis collection. The entire environment is characterized with a brass insert that runs along all the surfaces of the yacht accentuating the perception of the curves and outlining the various plans of support in fiberglass while the tall parts are made of cannulae wood, placed vertically in order to enhance the feeling of height. The green upholstery is the only element that adds color in contradiction to the white coverings.
With this same purpose, fluid shapes characterize even the furnishings and much attention has been given to create a sense of continuity. The dining table can be arranged
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One of the points of contact with the designer, a leading proponent of collectible art on the international scene, is a shared interest in fiberglass, as an essential construction material for Azimut Yachts and one of the favourite material of the artist. On this yacht fiberglass is given new life as a key element of the design. For Magellano 25 Metri, De Cotiis used a special type of resin and thanks to an elaborate artisanal process, the result of multiple layers and embellished with a bronze powder, he has given life to surfaces of parchment colour, characterized by a pleasant clouded effect and inclusions that in somehow recall those typical of some precious stones.
In the night area on the Lower Deck there are four cabins, including two VIPs, one double and one with sliding double beds. In the owner’s suite, thanks to the inclined position of the walk-in closet, the space extends out, while the mirror coating makes the volume disappear and reflects the light and the starboard panorama, creating highly suggestive changing optical effects.
The crew quarters are independent, with direct access from the galley to avoid interference with guests’ movements and ensure a high level of privacy. Magellano 25 Metri is also one of the few yacht in its category to have direct access from the internal wheelhouse, located in a raised position on the main deck, and the external one on the fly so to facilitate the work of the captain and crews.
The “artistic fiberglass” is joined by other materials and types of wood to create a highly appealing play of contrasts: brushed Verde Alpi marble, dark walnut wood, carpet, polished brass, lacquered wood and ribbed wood.
Artificial light is a key element, with a lighting system designed to create a soft, warm mood. The carefully thought out light design created by the artist involves not only lamps and classic ceiling spotlights, but also and even the sofa bottoms to give the furniture the appearance of “being suspended”.
The furnishings feature flowing shapes and a lot of effort has been put into creating a sense of continuity expressed by seamless, curving lines. 113
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Vincenzo De Cotiis Vincenzo De Cotiis - Azimut Magellano 25 Metri debuts in Portofino © Azimut Yachts
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Ken Freivokh offers his own personal take on exterior styling based on the concept of timelessness, driven by the desire to create an object of evergreen beauty and appeal, far from fleeting fashions and passing trends. The central element around which the entire design revolves is the fully-glazed superstructure, created to convey the feeling of a penthouse overlooking the sea. The standout features include the (nonslip surfaces on the transom) wrap-around steel detailing in the stern area and the retro-style windows in the hull. The yacht’s silhouette is given even more personality by the louvers on either side aft of the deckhouse. The elegant spiral staircase leads up to the Fly Deck, where the hard top is supported by a minimalist central mast. The vertical bow underscores the remarkable seaworthiness of this model. While the bow area can be experienced differently, the stern, thanks to a pivoting hatch mechanism, offers the charm of an Infinity Terrace from which to contemplate the charm of the sunset without any visual impediment.
offers some undisputed benefits: thanks to a targeted use it is possible to expand the volumes on board while maintaining excellent levels of stability. There has also been a concerted effort to reduce noise and vibration to guarantee the highest levels of comfort; the owner’s suite is set up as a floating capsule and the introduction of an elastic joint between motors and inverters prevents vibrations generated by the propeller axis from propagating inside the boat. The Dual Mode hull, designed by the firm led by Pierluigi Ausonio, ensures safe and comfortable cruising even in rough seas. The double shaped chine joint with a skeg reduces consumption at different cruising speeds and cushions wave impact. As these features show, Magellano 25 Metri has been designed for long-range cruising even in unfavourable sea and wind conditions.
The yacht is fitted with two MAN engines rated 1,400 horsepower each (or alternatively 1,550 HP), with V-Drive in-line transmission. Stabilization is provided by a Humphree electric fin system. The yacht has a top speed of around 24/25 knots and a cruising speed of 21 knots.
Magellano 25 Metri is a full member of the Carbon Tech Generation and represents another milestone in Azimut Yachts’ pioneering research into the use of a material that
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Gabriele Muccino and Giovanna Vitelli in Portofino Presented in Portofino in September, in its very first preview, the short film “Open your eyes” celebrates the debut of Azimut Yachts’ new model, the Magellano 25 Metri. Behind the camera is Italian director Gabriele Muccino, who has successfully communicated the fundamental idea that lies at the heart of the Magellano project. The images in fact express how art and beauty can be the spark that brings emotions, and even a new love, to life. © Azimut Yachts
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Q&A
GIOVANNA VITELLI TELLS SYD MORE ABOUT THIS PROJECT AND NEXT PROJECTS from this experience, what reflection have you made?"
At the Miami Yacht Show last February 2020 we sat down with Giovanna Vitelli, Vice Presidente of Azimut Benetti Group, to talk about this new product. The idea at that time was to present the yacht in Venice during Biennale of Architecture, unfortunately the pandemic changed all the plans. The boat was introduced in Portofino in September at a private event, where the shipyard also announced Marco Valle as new Group CEO, with the aim of creating synergies and developing ever-better efficiencies between the two brands. We also took this opportunity to deepen this project again with the management.
GV: "This experience led us towards the desire for novelty. Boating was still too tied to old - outdated - schemes, both in terms of space distribution and in stylistic and decorative terms. On the one hand, the need to propose something different was deeply felt inside our company, on the other hand the sector was demanding a sort of change. We were referring to an audience with a language that was no longer adequate to their current lifestyle; the habits of our customers were changing, not only because over the years their lifestyle evolved, but because generations are changing, and consequently, we need to renew ourselves. We are not new to the exeperience of contamination between art and design. This approach we have already tested has led us to a further step and to the decision to involve a name like De Cotiis for the interior design of the new Magellano 25 Metri".
SD: "With the interchange between art, yachting and design, which you have been introducing for some time with Azimut Yachts, you have started a new process of modernization in boating, trying to change the order of things and bringing innovation. What do you gather
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SD: "Why did you choose this boat as your new frontier for design experiments?"
the one that is performing best on the market, the Magellano can be considered the first model in history. Thanks to the important contribution in the development of boating, and for being recognized as a very innovative boat, we have chosen the Magellano as a model with which to try to go further by offering new visions. We thought of involving an architect who was a signature that could lead to the creation of a real work of art".
GV: "Because the Magellano was historically born with the mission of revolution-evolution. When we designed it in 2007, before launching it on the market two years later, we wondered if customers, in the near future, would continue to be attracted by speed, traditional flybridge, glamorous and sexy aspects of the yachting lifestyle, or if, instead, they would have changed their habits developing a different way to go to sea. For example, living the sea as a sea dog, a sailor who gives much more importance to the journey and less to the destination, who loves comfortable and intimate spaces because the time to spend on board will be long. We therefore tried to create a new product by applying the logic of the trawler.
SD: "These contaminations contribute to enrich the product and to bring new values, are there, however, some limits that can not be overcome?"
GV: "Yes, absolutely, there is a very clear limit, and for this reason our search for contamination and dialogue with architects outside the nautical world has been very long, broad and complex. We spoke with many architects before deciding for De Cotiis; he is one of the very few architects outside our sector, who is able to bring his ideas while respecting the boat as an object of the sea, without considering it as an exhibition space and without bending it to the needs of the design object. A boat is not a New York apartment, it
The Magellano was born with the idea of being a niche product, it ended to be a great satisfaction also in commercial results. In the end, investing in new solutions has proved us right! The Magellano was the first crossover in the small boat segment. Even today this category, in all its forms, is
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GV: "We never stop, this year the biggest launch is represented by the Magellano 25 Metri. We planned to present the boat in Venice with an event during the Architecture Biennale but, you know, what has happened globally. Due to the pandemic we had to change all plans. This year started with a great success. We can count ourselves fortunate that in February we could launch the Verve 47 in great style with an event at the Miami Yacht Show, launch which incredibly exceeded all our expectations. We wanted to challenge the American market by bringing a 47-foot outboard, a real mission for an Italian brand. This boat has an extremely revolutionary hull for an outboard and boasts a layout that combines the funniest - enjoyable - aspect and the practical sense of those who know boats well, and the American people know them very well, that's why the boat has had a lot of success. This year marks another milestone for our group, we have just presented the first Benetti Oasis 40m in Portofino, whose sales results are currently very satisfying".
must always remain in dialogue with the environment to which it belongs, its architecture must suggest its use and dialogue with the sea in aesthetic and functional terms. De Cotiis' approach was not to create special spaces to host works of art, if that had been the case we would not have been able to define this boat as an artwork. The stylisticartistic characteristic of De Cotiis lies in the contrast between rich and poor materials, which find their most extreme expression with fiberglass, a material that he prefers in many of his works. We gave him carte blanche, while collaborating in certain aspects that as a construction site we know should not be touched. The project stems from a conversation with him around the concept of a somewhat retro boat, to which to give a contemporary allure, and the stylistic-artistic element on this specific unit is exceptional and captivating and helps us to carry on a story of innovation that began with the first model ten years ago". SD: "After your big event in New York last year in May, what should we expect now in terms of new marketing initiatives?"
SD: “In 2019 you celebrated your 50th year of activity for the Azimut Yachts brand, you have reached an important stage. What do you expect from the next decades?" 119
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GV: "A new era will open but we do not expect major revolutions. It will open for various reasons, first of all we are witnessing a generational shift that does not only concern the family change at ownership level, but also the designers' world, and in fact we have new collaborations with new names for new products. A third aspect concerns a change in the way of thinking; boating has been evolving, this already happens for some years, and it will evolve more and more in favour of eco-sustainability and those new themes that can be more attractive for the new generation of yacht owners. We are studying new lifestyles and developing strategies to be able to approach them with greater interest. Both our products and the target customers are the subject of our continuous brainstorming sessions; for sure, the DNA of our company, philosophy, ethics, those will not change".
theme that is still at the center of our experimentation is the diesel-electric engine. If we think that this has not yet expanded in the automotive sector, we can imagine that boating requires more time and more research. That said, as a company we are required to initiate experimentation processes that lead to real innovations in this sense. We are experimenting in this direction and we are doing it not from a marketing perspective but for real product development. The outboard segment interests us a lot, with the Verve 47 we tried to enter the market, now we will develop new models. Azimut Yachts traditionally follows the philosophy of experimentation; we have always had the desire to understand new social dynamics that allow us to intercept new models of life and style". SD: "Today the boat plays on several aspects at the same time: large outdoor spaces, greater internal comfort, elegance, flexibility, versatility, design, style, and then, behind the scenes, all the contents related to innovation and technology. Are all of these aspects together necessary to attract the customer?"
SD: "Every new path needs a phase of elaboration and thinking first and, secondly, experimentation, what are you thinking about today?"
GV: "Yes, that's correct, this change we are facing fuels our need to experiment, which is the real big issue today. A major
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GV: "First of all, we must make a very important distinction between all these things: innovation and technology are essential ingredients and they must not be linked with the rest, they stand alone, that is, they are key aspects of the product development area. All other themes, which marketing actions are used to put together like a cocktail, play more on an emotional level on the customer, have less substance, are more part of promotion operations, are useful levers to be able to tell the story of the boat. I think that experimentation must focus on one or part of these aspects; each product will then have its own DNA as distinguishing element, such as Magellano 25 Metri with the interiors by De Cotiis. The right question to ask about this project is 'Can art come on board and be a tool for enhancing space, without being an end in itself on the one hand and respectful of the object in which it is inserted on the other?'. This is an experience that we have started for some time, already with architect Achille Salvagni: we have created very disruptive lines by breaking the mold of yacht design, and the market has proved us right, it has been a great success. We worked by focusing on one of all aspects, a sinuous design in line with the marine
environment. Today Salvagni still collaborates with us on the Flybridge range from 60 feet upwards. Our collaboration has always been a path of ideas shared together, he was chosen at the beginning because we had glimpsed a certain genius in him; even though he came from the residential area, he looked at the boats with respect. His shapes and lines arise from the idea of ​​the fluidity of the object evoking a sense of calm, which is precisely what belongs to nature by definition". SD: “Fashion and sometimes also design are used to take their inspirations from the past. In boating this does not happen, what do you think?"
GV: "It's true, and it is a very interesting aspect. In our sector, there is no such trend. However, if we look at our approach, this theme involves us a lot. Many fashion companies very often open historical archives to celebrate their tradition and their history as evidence of the great contribution they have made to their sector. We are doing this exercise with Benetti".
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exclusive thanks to the contrast with raw materials such the fiberglass used as an element of decoration. Looking at the market, are customers really interested in these style proposals or are they influenced by marketing campaings?"
"We want to bring to light all our evolution, our archive will be a reference center for documentation on boat styles and concepts that belonged to the past: we believe these are worth finding and revisiting in a modern way in order not to lose them but on the contrary to save them as heritage. We found that even in the customer there is a certain desire to return to the past. B.Yond, Benetti's new expedition line, is a return to origins. The use of steel is in the DNA of Benetti history. As for Azimut Yachts, the Magellano 25 Metri will already be an example of this exercise we are doing. The boat evokes the retro taste of boating, reinterpreting it in a contemporary key. However, we must also say that this exercise in analyzing the past was also done through the work of architect Stefano Righini, with his study of proportions and volumes. Today designer Alberto Mancini continues this work of analysis of the past for Azimut, focused on harmonic balances. I personally agree, it is essential to look at tradition".
GV: "De Cotiis is a lover of a principle that in my opinion is extremely nautical, namely the 'uniqueness of creation'. A value shared by our customers, who interpret uniqueness as one of the ways of understanding luxury. The serial product is not for them. De Cotiis works very well on proposals exclusively designed for the individual client and has a very opulent sense of decoration. He has been able to create a transversal project, I mean, a boat that the customer is not obliged to choose with all the details and decorations proposed by De Cotiis in the first unit, but has the freedom to ask for different elements. The architectural project is valid for this reason, its value lies in the management of the spaces the architect has been able to create and in the interesting architectural vision he has offered". As a shipyard, we must be very careful that these collaborations do not become sterile style exercises, or collaborations that do not reflect
SD: "With the collaboration with De Cotiis, you introduce, for the first time in the nautical world, the concept of 'preciousness', that is environments in which the refined material - marble and brass - is even more
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the interest of the market. The Magellano 25 Metri by De Cotiis proved to be the right choice, if we consider that all the units sold so far have his interiors, even if some elements have been changed. But this means that the project works even without all the elements proposed". SD: "The boat is an expression of joy, of life, in what form was De Cotiis able to express this emotion?"
GV: “I believe that this explosion of preciousness linked to the contrasts makes the space on board a very fascinating place. De Cotiis has a past experience in retail and this is a very interesting aspect, it allowed him to develop the ability to create unique languages for the wider market. The poetic with which he creates the interiors is a vision of well-being and joy because in this project he tried to bring out the soul from every aspect. We really enjoyed working with him, he is an important signature that we also wanted to involve on a second project, the Azimut Magellano 30 Metri".
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by Gemma Fottles
PRINCESS X95
PUSHING THE BOUNDARIES OF DESIGN HERE WE LOOK AT HOW AN INNOVATIVE COLLABORATION BETWEEN PRINCESS, OLESINSKI DESIGN AND PININFARINA HAS RESULTED IN A POCKET-SUPERYACHT THAT TRULY PUSHES THE BOUNDARIES OF LUXURY YACHT DESIGN, REPRESENTING ONE OF THE BRITISH YARDS’ MOST UNIQUE MODELS.
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Photos © Princess Yachts
hen you think of boundary-breaking yacht design, your mind may immediately wander to the Sailing Yacht A’s of the world: immense projects demanding immense budgets, and reserved for only the biggest and the boldest of superyacht owners. With the first hull delivered earlier this year, however, the Princess X95 proves that innovative design really does come in all sizes.
The X95 is the largest model in Princess’ X Class Superfly range of luxury flybridge yachts. With the X95 accompanied by the recently-announced 25-metre X80, the yard describes the X Class as an entirely new product segment pushing the boundaries of yacht design. With an open plan architecture from the drawings boards of the renowned Pininfarina studio and expert naval architecture and exterior design from Olesinski Design, the British shipbuilder’s latest 29-metre model certainly lives up to the hype, presenting an exciting rethink to traditional yacht architecture. And that, as the team behind the X95 confirms, was the goal from the very inception.
Design evolution
When it came to the X95, the brief was to think outside the box and truly create something new for yacht owners, as designer Bernard Olesinski explains. “The brief for this project required us to rip up the rule book and start from scratch in all aspects of the design. The efficient hull design, an extremely flexible general arrangement and the exterior design, which combines unprecedented amounts of glass with long flowing lines - these all represent major advances over the existing conventions”. “On a traditional boat of this size, the foredeck takes up a large proportion of relatively empty space”, adds Princess Yachts CEO, Antony Sheriff. “By removing the helm station on the main deck and integrating it onto the flybridge, the yacht is evolved, creating a more efficient use of space that lacks formality and provides more flexibility and flow of movement”.
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continues Sheriff. “On the very top deck, you have a raised wheelhouse area that can be opened up or closed off as you wish. So if you have a captain and crew onboard and you want a separate sofa area for guests, that’s easily achieved – and further aft, that flexibility gets even better. The flybridge aft deck area is basically a large flat space and, while we have various designs that can be utilised here, it’s almost a blank canvas that the customer can use to refine his favoured layouts, furniture choices and applications. The X95 brings with it supreme flexibility, enabling you to make it almost as bespoke as you want”.
This evolution in design delivers indisputable benefits to owners and guests. With both her flybridge and main deck covering almost the full length of the yacht, the X95 offers 10% more outdoor space and 40% more indoor space than on a comparable motor yacht. “The X Class is designed with an ‘open-concept’ in mind, using space and layout much more effectively than on traditional motor yachts”, Sheriff continues. “The X95 completely rethinks yacht architecture to set a new benchmark for luxury living spaces”.
Customised to perfection
The X95 boasts a fuel capacity of 13,400 litres and a long autonomous range for extended periods at sea. This, adds Sheriff, maybe something increasingly crucial for the future. “There is certainly an increase in yachting at the moment, which may well be the effect of a bubble of people feeling more inclined to spend time with loved ones in a way that feels more isolated and protected away from crowds, for which a yacht is a perfect place. It may also be that people are keener to spend money that in turn gives them the opportunity to spend quality time in a peaceful environment with family, particularly when there are more restrictions on where you can travel”.
Thousands of hours of R&D not only resulted in significantly larger living spaces on board, but opened the door for increased customisation. Owners are offered the choice of three main deck layouts - including the option of a full-beam master suite - as well as three lower deck arrangements. This level of flexibility, Princess Yachts CEO says, works to “create a bespoke, custom-built feel whilst having the confidence of a production project”.
Since the model’s official launch in 2018, the X95 has been met with instant success, with ten hulls sold to date, the inaugural X95 hitting the water earlier this year and the second hull scheduled for delivery in late 2020. Here we talk to the designers behind the X95 on what goes into designing an innovative yacht with universal appeal.
Aside from her impressive spaces and increased opportunity for personalised design, the flybridge is the X95s defining characteristic. “Life on an X95 is unlike that on any other boat its size”,
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Pininfarina: "The automotive approach allows for creating unexpected views from any point of view of the yacht - just as our car designer’s work on a new car. Moreover, in the automotive industry, we are used to creating tense and fluid lines for cars, and we apply this capability to the yachting sector. Talking about the partnership with Princess, I can say that our heritage in car design allowed us to take the classic and elegant lines of Princess and reinterpret them into a contemporary and innovative vessel. The X95 really brings Princess into the future".
BERNARD OLESINSKI & PININFARINA TELL SYD MORE ABOUT THIS COLLABORATION SD: "What gives the Princess X95 her instant appeal?" Pininfarina: "I would say the unprecedented volumes. In terms of aesthetics, the dynamic and fast lines running along the sides offer the look of a megayacht. In terms of user experience, both the flybridge and the deck cover the full length of the yacht offering wider external spaces. Also, in the interiors, the main deck saloon has been designed as an open space to grant more room and an extraordinary sea view. Taking care of all the details of aesthetics and function, we have gifted a strong appeal to the X95".
Olesinski: "Input from the car industry during the development of the X95 resulted in a cross-pollination of ideas from the automotive and marine sectors, which added to the richness of the design. The final result is a forwardlooking yet elegant vessel, combining beautiful expanses of glazing and long, sculpted surfaces". SD: "What are some of the most unique solutions on board the X95?"
Olesinski: "The flexible semi-custom layout of the X95 is one of the key features which elevates it above its competitors. An owner can truly put their own stamp on the vessel, and optimise it for their lifestyle. To instil the X95 with such flexibility required intense planning during the design phase. For example, the vessel’s structural elements were designed to keep the main deck as open as possible, allowing multiple layouts. At the same time, the huge expanses of glazing imbue every possible layout with a feeling of space and light".
Pininfarina: "We love challenges, especially the challenge of imagining innovative solutions to improve the yachting experience. In the case of the X95, we have moved the helm station to the flybridge in a closed lounge area. This allows for a 360-degree view out on the sea, with the ability to exploit all the space of the main deck either for the lounge and the kitchen or for the saloon and main cabin. This architecture is innovative for a 30m yacht. On the exteriors, the owner and his guests can enjoy a spacious open deck and a large lounge on the aft. On the bow, we have positioned a small sofa to create an intimate zone for the more private moments".
SD: "How does the automotive experience in design complement luxury yachting?"
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SD: "What are your stand-out design features on the X95?"
SD: "Over 12,000 man-hours and 20 design proposals went into the development of the X95. Tell us about the project development?"
Pininfarina: "Broad use of glass walls that makes the interiors very bright and at the same time coveys a ‘home’ flavour to the environment. And also the S of the flybridge stands out for us, the stylistic mark that has created the new Princess design identity. It was applied for the first time on the Y85, and it generates that family feeling among the full range while, at the same time, soaring on the highest part of the yacht. This mark has also been applied on the aft wing with the same goal".
Olesinksi: "We started a hull research program at Olesinski one year before the official project kick-off. This involved exploring a much broader design space than would normally be the case to allow us to investigate how novel hull forms of all types might offer opportunities to meet the unique challenges of this project.
The design process began with the layout of the vessel. The innovative arrangement of the X95 allowed a giant leap in usable interior space, but to make that space work for multiple layouts required intense planning and collaboration between the three cornerstones of Olesinski: exterior and interior design, naval architecture and structural engineering. As the project developed, the hull lines were continuously refined to meet the evolving demands of these three departments.
SD: "What else makes the X95 a more efficient yacht?"
Olesinski: "The X95 hull form results in a dramatic reduction in required power at all speeds but particularly so at lower speeds which would be typical during extended cruises. This increase in efficiency is significant when compared to vessels of similar length and weight.
The other area where the X95 offers unrivalled efficiency is in the use of space. The unique layout results in a stepchange in both interior and exterior space available to the owner, guests and crew. If we combine both these factors and consider the power required to achieve a particular speed for the amount of accommodation on offer, then we can appreciate what a ground-breaking design this really is".
This design process incorporated elements of both new processes developed specifically to meet the requirements of this project and the time-served design process that has evolved over many years of close co-operation between Olesinski and Princess. The result is a carefully honed and integrated design in which every element has been considered in the context of the overall design and is driven by the goal of achieving a final result that surpasses its contemporaries in every respect.
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by Chrissie McClatchie
FEADSHIP | M/Y W
BUILT THIS WAY HOW DO YOU MAINTAIN THAT FEADSHIP UNIQUENESS WHILE REFITTING A YACHT TO YOUR NEEDS AND REQUIREMENTS? BY GOING BACK TO WHERE IT ALL BEGAN, LIKE THE OWNER OF M/Y W. Photos © Feadship
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n a season most of us would prefer to forget, the 17th of July 2020 turned out to be a memorable day for one yacht owner. As the sun shone down along the Dutch coastline, the superyacht M/Y W completed her sea trials at Feadship’s yard at Makkum. Her proud owner was standing by, waiting to take delivery of his freshly refitted vessel and cruise off into what remained of the Northern Hemisphere summer.
There are many truths about a Feadship yacht. She is unique, classic, innovative, handcrafted… the list goes on. But for all the emotion the mere mention of the Royal Dutch Shipyards evoke, there is also a good dose of reason behind the decision to choose a Feadship. “You can get a boat of the same size elsewhere for half the price - but then you get half the quality and a poorer resale value”, the owner of the 68-metre Feadship Lady Christine is reported as having said. No other motor yacht enjoys a similar reputation for holding its value.
In the secondary yachting market, buying a Feadship is often considered a stepping stone to a new build. It can also be a sound investment: in 2016, the medium value of a pre-owned Feadship was €3.5 million higher than 2015, according to SuperyachtNews. Yet, it’s the rare purchase that doesn’t require some sort of recalibration to adjust the yacht to her new owner’s requirements or tastes. So, how do you proceed without disrupting the feel, or those intangible qualities, that makes a Feadship a Feadship? By placing it back in Feadship’s capable hands!
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“After buying W in 2019 I set out to not only refit my newly acquired Feadship to my specific requirements but to also renew her in every possible respect while ensuring that she remained 100% a Feadship”, the owner of W commented upon completion of the refit project. The Feadship Refit and Services division holds records for every Feadship yacht ever built (a figure that is less than 470, if you don’t count yachts built by the De Vries and Van Lent families prior to World War II). In a company where employee turnover is extremely low, there’s also every chance that the people who originally built a yacht will still be working there when the time comes to refit it.
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Refitting W Originally launched as M/Y Larisa in 2013, the brief was to refit the 57.60-metre yacht in line with the personal preferences of the vessel’s new owners, in particular when it came to three areas: facilities, sleeping accommodation and exterior. It is the latter where the change is most obvious. Beyond the bold W which adorns the yacht’s superstructure, her white hull has been swapped for a distinctive metallic-silver hue. A Jacuzzi was also installed on the sun deck at the request of the new owner.
Some smart recalibration of existing spaces has also increased the number of guests W can accommodate. As Larisa, the yacht slept eight guests in four staterooms but in its new incarnation, it can welcome 12 guests. This has been made possible by the conversion of the lower-deck VIP stateroom into two separate guest suites to port and starboard, bringing the total number of staterooms on this deck to four. The owner’s suite on the main deck remains unchanged.
Yet there’s even more flexibility in terms of sleeping arrangements: the bridge deck lounge can also accommodate guests, if necessary, thanks to a double Murphy’s bed which has been fitted. The adjoining day-head has also been transformed into a marble-clad bathroom. To match this increase in guest capacity, the yacht’s crew has also grown from 22 to 26. The yacht’s breezy and contemporary interiors, originally designed by Bannenberg & Rowell Design, have been maintained. Personal touches, however, have been added by the new owner, in partnership with Fort Lauderdale’s A La Mer, inc. (see interview with A La Mer’s Nora Gugel below). The layout of the main deck lounge has been rearranged and the result is a more open and airy area for guests to enjoy.
State-of-the-art technology
This refit period was also an opportunity to upgrade the yacht’s operating systems in line with the technological advancements that have occurred since her launch in 2013. “All major systems on W were dialled back to ‘zero time’”, the yard said in a statement issued to the press on the project’s completion. Specifically: new screens in the wheelhouse were installed; the lighting changed from halogen to LEDs; new AV and IT systems: a new sewage treatment unit; upgrades to the two MTU main engines. “The owner and his team are very pleased with the final result”, project manager Hans van der Wiel explained at the time of delivery. “They asked for a wide array of additional activities to be carried out once the project was underway confident that this would be money well spent. And the owner is delighted that the end result does not look like a refit – you really would feel that W was built this way in the first place”.
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Yachting during the coronavirus After arriving in Aalsmeer for the start of the refit last year, the yacht moved to Makkum for the dry dock phase. The project was initially projected to take six months but along with the extra requests, there were also the COVID-19 restrictions to navigate. In the end, the refit schedule was extended by five months. Like most industries around the world, adjustments had to be made to adapt to new safety protocols across Feadship’s four Dutch shipyards and included the staggering of shifts.
“An additional challenge was the need to have travel restrictions lifted before key crew members could rejoin the vessel”, van der Wiel commented. “The owner was very impressed with how these unprecedented issues were handled, especially because much of the refit had to proceed with only ‘remote’ consultations possible with his team”. “The owner’s original decision to send W from the Med to the Netherlands for the project based on Feadship’s unrivalled reputation for keeping to agreements has been fully validated”, he continued.
Upon completion of the project, W was presented with the Feadship Authenticity Certificate, an attestation of Feadship quality only awarded to yachts in the Feadship fleet that have been maintained and, where relevant, refitted at one of the four Feadship yards in the Netherlands (Amsterdam, Kaag, Aalsmeer, Makkum); remotely through approved members of the Feadship network; or have been inspected by the Feadship Authenticity Committee. It’s a certification that serves to uphold the resale value that Feadship is so renowned for.
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Q&A NORA GUGEL, HEAD OF A LA MER, INC. AND LEAD DESIGNER ON M/Y W, TELLS SYD MORE ABOUT THIS PROJECT SD: "What was the brief you were given on this project?" Nora Gugel: "Our client purchased this amazing Feadship but wanted to open the main salon area and make it feel more unified as one. It was a separate area with a desk forward and a seating area aft. It really wasn’t set up for entertaining or lounging. Our client is very hands-on and already had an idea of what he wanted to see. We took his vision and created a more unified space by cutting back the midship cabinets and making the supports into decorative back-lit columns". SD: "Where did you turn to for inspiration?"
Nora Gugel: "The surroundings of this yacht gave us all of the inspiration that we needed. We wanted to keep the interior design as close to the original style as possible. We didn’t want it to be obvious that it was a refit, which is our usual approach to a project like this". SD: "Can you elaborate on the various personal touches added to the original interior?" Nora Gugel: "We added new furniture inside and out, more to the taste of our client and his lifestyle, along with linens, and throw pillows. This is a client that we have done many projects for, so we know what he likes and what he doesn’t like". SD: "What were some of the materials and furnishings you used?"
Nora Gugel: "We used custom Holly Hunt, Minotti, Poltrona Frau, Siebensee, Summit Furniture, Tuell + Reynolds, to name a few. We also used beautiful fabrics from Hermes, Loro Piana, Mokum, Pierre Frey, and leather from Spinneybeck". SD: "What are some of the smaller details we might not know about?"
Nora Gugel: "The sundeck aft starboard furniture is all custom made by Siebensee. We provided a drawing and they came to the boat and templated to make a perfect fit. The bronze bench on the bridge deck was a custom-made piece by Tuell + Reynolds, the design was a collaboration between us and the client. We made sure that the bronze legs on the master sofa were removable to ensure that it could be brought through doorways and passage into the master stateroom".
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SD: "This is your latest Feadship project. How many have you worked on?"
way we normally do, so we provided detailed documentation for the Captain to use for instructing the crew on placing everything in the correct location. Fortunately, we were ahead of schedule on our orders, so COVID-19 did not severely impact us".
Nora Gugel: "When I started A La Mer, Inc. in 1990, my first project was a complete refit of a 1955 wooden Feadship. I did all the drawings by hand. She was called Aquarius Star. W is my 3rd refit on a Feadship".
SD: "How does a refit project differ from a new build project?"
SD: "What is it that makes a Feadship yacht so special?"
Nora Gugel: "A new build is more of an empty slate, you have to design and draw it before it gets put into motion. With a refit, you have to peel back the layers and recreate around existing conditions. Typically, a refit is faster than new construction because the hull and mechanical are already in place".
Nora Gugel: "What can I say, they are the crème de la crème. Their fit and finish is exceptional, as well as their attention to detail. They take great pride in everything that they do, and it shows". SD: "Did you base yourself in The Netherlands for the rebuild?"
SD: "How would you describe your design philosophy?"
Nora Gugel: "No, it wasn’t necessary. I am used to flying in, taking measurements, photos and notes. The yard provided the drawings we needed. We did 90% of the work from our home office. I went to the boat 3 times".
Nora Gugel: "We want to keep people on the water, living the lifestyle that they are accustomed to on land. We aim to have the interior reflect their lifestyle, not our signature, and at all times we want to keep the integrity of the yacht. We are very cut and dry, with a passion for good design!"
SD: "How did you work around the COVID-19 lockdown?"
Nora Gugel: "I was unable to fly there to deliver the boat the
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by Julia Zaltzman
ROSETTI SUPERYACHTS
NATURAL SELECTION
ROSETTI SUPERYACHTS HAS DELVED INTO MOTHER NATURE’S ARCHIVES TO DELIVER A CONCEPT EXPLORER YACHT THAT BORROWS BEAUTY FROM WILDLIFE, PROVIDES EXPLORER CREDENTIALS AND OFFERS OCEANGOING ENGINEERING. PROJECT ORCA IS AN OWNER'S CUSTOMISABLE DREAM. 147
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reference to the new design concept. “Instantly recognisable by their distinctive black-and-white colouring, these sea mammals roam the world’s oceans from the Arctic and Antarctic to the tropics, which is exactly what our explorer yacht is designed to do”.
nspired by nature, built for adventure. That is the mantra that fits the latest concept launched by Italian shipyard Rosetti Superyachts. Named Project Orca, so-called because the curved lines of the 65m explorer yacht closely resemble that of a killer whale, the combination of natural finishes and cutting-edge technology make this a highly exciting proposition.
Project Orca if a four-deck yacht, with the addition of a tanktop deck, but the design gives owners the freedom to choose from various deck layouts, and customise to their needs and lifestyle, says Andrea Giora, Sales Director at Rosetti Superyachts.
Billed as possessing strong supply vessel characteristics alongside its explorer yacht credentials, Project Orca is said to be a shining example of how design innovation is inspired by nature, and its inherent ability to adapt. These traits are most evident in the robust profile which features wraparound glazing, bold superstructure styling and a radar mast resembling a tall dorsal fin. A classic white side patch at the owner’s deck level that lights up at night also echoes the flank of an orca and presents extra ‘wow’ factor.
“We feel confident in stating that the concept behind Project Orca has broken the rules in terms of exterior design compared to other explorers”, Giora continues. “Orca has a very recognisable shape developed in collaboration with the designer in order to offer something different and original to the market”.
“The organic design traits mimic the orca or killer whale, the largest and most powerful member of the dolphin family”, says Fulvio Dodich, President of Rosetti Superyachts in
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imposing bow, while on the lower deck aft is a large garage that can hold two large tenders or several jet skis and other water toys, not to mention cranes, all designed to enhance the explorer experience.
With a beam of 12 metres and an estimated gross tonnage of 1300GT, Project Orca offers owners the option of choosing from various layouts. Accommodating 12 guests in six cabins, the standard version has an open main deck at stern that allows to have both a touch-and-go helipad and a large space for storing tenders and toys. Alternatively, this area can feature an infinity pool overlooking the transom or a raised helipad with a pool and spa area underneath.
The guest accommodation, comprising two VIP suites and two guest cabins, is located further ahead on the same deck level and is served by the main staircase and an elevator that connects with all deck levels up to the sun deck. The crew accommodation is in the bow.
Internally, the main deck hosts a large main salon, dining area and a spacious VIP suite forward. The owner deck features the owner’s apartment with his and her bathrooms, two walk-in wardrobes, the office and a large gym. The suite overlooks the open aft deck that serves as a private terrace and is a “great solution for feeling in direct contact with the sea”, advises Andrea Giora. The captain’s cabin is behind the wheelhouse.
Up top, the large sun deck is equipped with full dining facilities for that perfect al fresco experience, alongside a bar and sunbathing areas with elevator access for guests and separate stairs for crew. Powered by twin CAT 3512 engines (1398kW @ 1800 rpm), Project “Orca” is expected to have a range approximately 5,000 miles at an economical speed of 11 knots.
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“This means that, despite the possibility for further personalisation also in terms of technology, we are able to kick-start production shortly after the signature of the contract. For instance, although it has been already designed as an Ice Class Vessel, if the client wishes to cruise in polar zones, the 65m EXP can be made compliant to higher Ice Class requirements in order to face any sea conditions in total safety”.
Dodich, who believes construction time on the vessel would be 36 months, adds: “We have already done the concept engineering and completed the technical specifications for Project Orca, and if we sell the boat tomorrow and want to make a start on it, we can begin construction”.
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Based in in Ravenna in Italy, Rosetti Superyachts forms part of the Rosetti Marino Group, which has made a name for itself as a key player in the construction of high-tech ocean-going vessels. This gives the superyacht shipbuilder key access to state-of-the-art facilities, including a 160-metre dry dock and two 100-metre construction hangars.
complicated balconies with hydraulic systems, they just wanted a space that was outside without having to get the crew involved”.
Trieste-based Meccano Engineering, which is responsible for the engineering, naval architecture and exterior design on Project Orca, has been providing specialised engineering and consultancy services to the marine, shipbuilding and energy sectors for the last 20 years, and in 2018 Rosetti began work on its 38m steel and aluminium explorer.
The interplay of natural light and mood lighting features strongly throughout the design. The main deck provides a veranda style seating area with wide open sea views and a dining area that buys into the harmonious connection between indoor and outdoor.
Construction remains on track for delivery in summer 2021, and when complete the yacht will feature an interior by Italian studio BurdissoCapponi Yachts & Design. Select artworks and striking internal features, such as a threestorey sculpture on the central staircase illuminated by a skylight, promise to draw the eye. A custom 150-bottle wine cellar that serves as a divider between the guest areas and the owner's stateroom truly sets the interior apart, while a combination of white tones sit alongside light and dark woods. "The owners had a precise idea of what they wanted. We want to build a really custom-made boat”, says sales director Andrea Giora. “The owners didn't want to have any
Exterior design hails from the drawing boards of Sergio Cutolo's Hydro Tec, offering modern styling at every turn, and sharp, clean lines that create a bold profile. A beach club and generous swim platform have been accommodated by placing the seven-metre tender on the upper deck.
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Q&A ANDREA GIORA TELLS SYD MORE ABOUT ROSETTI SUPERYACHTS SD: "What is the progress of the 38m EXP currently under construction?" CB: "At present, we are working hard on the construction of the 38m EXP, which is progressing on schedule with all the steel and aluminium works finished, 95% of the welding, 70% of the piping, 30% of the electrics, 15% of the joinery, and the fairing and painting under way". SD: "What other developments are in the pipeline at Rosetti Superyachts?"
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CB: "In addition to the 38m EXP, we are working on several customised requests from clients looking for a reliable and financially strong shipyard able to effectively build their own projects. We are offering them our engineering, project management and building skills based on the long history and experience of the Rosetti Superyachts shipyard in producing strong commercial vessels".
future, that is, proving to be one of the top players in terms of yachting excellence. Working closely with the New Build division, led by our Sales Director Andrea Giora, we are looking forward to entering the Refit market and we are currently quoting several units.
Although we missed the opportunity to attend the 2020 Cannes and Monaco yacht shows as they were cancelled, we are digging new paths and promoting activities to get closer to potential customers and catch their attention, as well as that of the most qualified brokers.
SD: "What investment and reorganisation has Rosetti Superyachts undergone in recent times?"
CB: "In the past 12 months we have massively invested in the renovation of the yard and we are ready to further increase our production capability through the construction of new sheds.
As soon as this period of global uncertainty is over and safer conditions will allow the market to take off again, we will surely be present at the most important boat shows worldwide. Finally, we will continue to work on rule-breaker concepts together with young yet ambitious designers who embrace Rosetti Superyachts' philosophy".
We have strengthened the technical department appointing Paolo Cerisola as the new head of the engineering department and covered four other key roles within the production team. Our recently nominated CEO Ermanno Bellettini has a clear vision about where the company must be in the near
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by Gemma Fottles
ROYAL HUISMAN | S/Y SEA EAGLE II
REACHING NEW HEIGHTS IS ROYAL HUISMAN’S SEA EAGLE II PAVING THE WAY FOR A MORE SUSTAINABLE FUTURE?
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t an impressive 81 metres in length, the threemasted schooner Sea Eagle II is one of the most super sailing yachts out there. Built by the Dutch shipyard Royal Huisman, she features naval architecture and exterior design by the experts at Dykstra Naval Architects and chic interior design and exterior styling from Mark Whiteley. Upon delivery in summer 2020, she officially became the largest aluminium sailing yacht in the world - and one of the top 10 biggest sailing yachts of all time. Delivered despite the challenging conditions of the year, Sea Eagle II may well be the mark of a new era of super sailing yachts and the sustainable lifestyle that comes with them.
Royal Huisman’s largest yacht ever was commissioned in 2016 by the owner of the 43-metre sloop Sea Eagle, also built by Royal Huisman in 2015. Having worked with both the Royal Huisman and Dykstra teams previously, the relationship that would form the owner’s new dream yacht was defined by complete trust. The brief? Build the best sailing superyacht possible. At an impressive 81 metres in length, the three-masted schooner Sea Eagle II is one of the most super sailing yachts out there. Built by the Dutch shipyard Royal Huisman, she features naval architecture and exterior design by the experts at Dykstra Naval Architects and chic interior design and exterior styling from Mark Whiteley. Upon delivery in summer 2020, she officially became the largest aluminium sailing yacht in the world - and one of the top 10 biggest sailing yachts of all time. Delivered despite the challenging conditions of the year, Sea Eagle II may well be the mark of a new era of super sailing yachts and the sustainable lifestyle that comes with them.
Royal Huisman’s largest yacht ever was commissioned in 2016 by the owner of the 43-metre sloop Sea Eagle, also built by Royal Huisman in 2015. Having worked with both the Royal Huisman and Dykstra teams previously, the relationship that would form the owner’s new dream yacht was defined by complete trust. The brief? Build the best sailing superyacht possible. 155
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Spirit of individuality To the owner, being the best meant real world-cruising capabilities, high speeds, ultimate cruising comfort and iconic design. Erik Wassen, Senior Designer at Dykstra Naval Architects, explains: “We had a lot of freedom in the design of Sea Eagle II. The owner was involved throughout the whole construction process, and he came to the yard quite regularly, but he left the styling and how the yacht should actually work to us. He knows that we know how to design a fantastic sailing yacht, and he trusted us to do so”. And a fantastic sailing yacht Sea Eagle II certainly turned out to be. Built to LY3 standards, she provides accommodation for 12 guests and 13 crew members. The superstructure features a half-raised bridge for inside steering, while the flybridge above with its dual steering stations and hydraulically operated crow’s nest puts her crew in direct contact with the elements outside. Here you can find plenty of space to embrace the best of the yacht life. The flybridge provides full control during sailing as well as a perfect spot for soaking in the sun and a comfortable seating area for guests who want to be close up with the yacht’s navigation, while the sheltered main cockpit beneath the flybridge is complete with a bar, sofas and a large table. Aside from the wealth of features onboard, what defines Sea Eagle II is the elegance of her crisp, clean design that, as Wassen comments, makes for a timeless boat that will stand the test of time. He says: “Sea Eagle II is elegant. She doesn’t belong to a certain era and has no roots in a certain time frame, so in 10 years, she will look contemporary but still elegant. I think what defines that elegance is her long, uncluttered flowing lines. You can see that there is not too much on deck, her lines are crisp and there is that detailing in the hull which gives her a special touch. It lightens up the whole profile of the boat, so when you view her from close up, you can see that there is something interesting happening in every element of her design”.
Whether it be motor or sailing, these details are precisely what makes Sea Eagle II stand out in the world of yachts, and shines a light on why the owner was right to leave the Royal Huisman and Dykstra teams a high level of autonomy when it came to the design and engineering of his dream sailing yacht. Wassen continues to describe a personal favourite design feature. “The small deckhouse in front is a very nice feature. Initially, this was a hatch box with a sliding hatch for an entrance, but I thought we needed to make that more of an architectural feature. The result now resembles the styling of the main deckhouse and blends in really nicely. It’s a small detail, but examining the smaller details gives the ultimate reward”.
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Greener yachting Sea Eagle II achieves speeds in excess of 21 knots in what Royal Huisman describes as “the ultimate sustainable way” of superyacht cruising: by the power of sail. Her Rondal rig is capable of carrying more than 3,500 square metres of sail area evenly distributed over her carbon Panamax masts. Thirty-four winches from the renowned sailing system integrator Rondal control the full sail area and the largest winches which are used for the yankee, mizzen sheet runners and staysail sheets are capable of 18 tons pulling load. Commenting on the environmental benefits of sailing, Jurjen van’ t Verlaat of Royal Huisman says: “Sailing yachts are taking optimal advantage of widely available zerocost energy and thus - by fact – are both the best and most sustainable superyacht solution to explore the world during a circumnavigation”. Despite bigger super sailing yachts being delivered year after year, and regardless of the technological advancements that make almost everything possible when it comes to custom sailing yachts, it is no secret that the sailing market has long been in decline. But with the world truly awakening to the pertinent issues facing our planet, one would be forgiven for hoping that when it comes to yachting, this could tip the scales in sailing’s favour. With sailing yachts offering substantially decreased emissions and a distinctly greener outlook, as the next generation of owners come to the fore, will they be looking for an environmentally-conscious solution? Wassen thinks they will be - though unfortunately, many may not be looking in the direction of sailing yachts. “In general, we do see a trend in yachting towards clients who are getting more and more aware of what they do with their yacht and how they affect the environment. But it’s odd. When you go to seminars or yacht shows, we see a lot of people talking about green boats and green technology, but sailing yachts are never mentioned in this conversation. This is really odd. We have the solution already, and that is superior sailing yachts”.
More than just a more environmentally friendly way of yachting, sailing is also a sector of the yachting world that is dedicated to the authentic yachting experience. Sailing is immersive: it’s about being close to the water, feeling the cold spray of the ocean in your face and basking in the freedom of mastering the open ocean. As Royal Huisman’s Van ‘t Verlaat explains, “Powerboats are considered to be mostly fun at location A or location B, but in addition to offering a fantastic experience in those locations, sailing yachts also provide fun on the way from A to B”. Wassen agrees that when it comes to sailing, no matter what the size, the experience is the real reward. “When it comes to sailboat owners, the journey is the holiday, not per se being in a beautiful bay and going ashore to the local village or waterfront restaurants. With sailing, the journey is the whole experience”. As the market shifts and we see more and more clients prioritise the experiential over the material, adventure over glamour, the kinds of experiences that sailing yachts offer may be exactly what future yacht owners and charter clients are looking for.
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New levels of sailing comfort Regardless of the beauty of the journey, there’s no denying that a motor yacht can offer levels of comfort and luxury that a sailing yacht simply can’t. That doesn’t mean, however, that comfort is sacrificed when sailing. Sea Eagle II is the perfect example of that, says Wassen. “I actually think that a sailing yacht is a nicer way to travel - but I may be biased! Obviously, you will have heel when you’re sailing, which a lot of people consider to be uncomfortable. People tend to feel uncomfortable because they don’t understand the mechanics behind it; they feel insecure when the boat heels. Sea Eagle II right now is proving to be very comfortable in terms of rolling behaviour. So making her light and stable helped in achieving a comfortable oceangoing yacht. That may seem a bit obvious, but it was definitely a significant design challenge”.
Persevering to achieve new levels of sailing comfort paid off, with the captains at the helm of Sea Eagle II reporting a resounding success on their maiden voyage and beyond. Wassen continues in regards to the performance of Sea Eagle II: “Due to coronavirus measures, there are three captains onboard Sea Eagle II right now. One of them was previously onboard the 88-metre Maltese Falcon, and another was on the 90-metre Royal Huisman yacht Athena, so they have similarly sized yacht experience. Their feedback on Sea Eagle II has been fantastic, all of them saying she is stable and much more friendly than they have previously experienced. Together, they’re all very pleased with the sailing performance and comfort on board”. In addition to great seakeeping, Sea Eagle II provides all of the onboard comfort and space which can also be found on luxury motor yachts, demonstrating a significant leap in the levels of luxury and comfort available in the world of luxury sailing. Onboard Sea Eagle II, the forward part of the superstructure has been reserved for the owner and guests, complete with a spacious saloon with comfortable seating and a large table with sixteen seats for formal dining. Throughout, Mark Whiteley has created a modern interior in perfect balance with the exterior living spaces. The warm design comprises oak floors and Alpi Walnut bulkheads - the latter being a natural material boasting high performance and eco-sustainability.
Sea Eagle II is the best of the best when it comes to super sailing yachts, offering a unique package that scales back excess in favour of comfort, excellent design and technical abilities. And by the looks of it, she is one of the first of many sizable super sailing yachts. Royal Huisman says: “Around 30 years ago we delivered our largest sailing yacht, which was just over 100ft. In recent years, our yachts average around 50 metres, so we’ve seen quite a change over the past three decades. Sea Eagle II proves that there is a market for much larger yachts”. Revealing their latest concept in September 2020, the 85-metre APEX 850, which if commissioned, would be the largest sloop in the world, who knows what the future of the sailing superyacht industry holds.
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