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LUKE SPRAGUE
On a calendar already saturated with superyacht
conferences, boat shows, award ceremonies and
symposiums, finding an event that offers something new
and valuable is difficult. Rather than being just another
superyacht event or an egotistical display of wealth and
excess, SuperyachtDESIGN Week was a very welcome
change. A true celebration of design, it brought together
for the first time top designers, suppliers, showrooms and
industry figureheads to discuss the present and look to
the future of our industry. Running from 18 to 20 June,
the inaugural SuperyachtDESIGN Week was a platform
for debate, discussion, reflection and networking for
the creative minds and industry influencers behind the
oceans’ floating palaces. SYD looks at key points from
the sessions and talks to some of the artisans that helped
make this week such a success.
38
SYDW13
EVENTS
39
DAY ONE
ROUGH LUXE
“Our interns could
do a better job.”
– Rabih Hage
Keynote speaker Rabih Hage made a bold
start to the event by challenging the industry
at large to be more inventive with its interiors,
to match the beauty and detail of the exterior.
Using models from Ferretti and Wally as
examples, Hage remarked on how interiors on
yachts often look quite basic and in perfect
proportion. Referring to his work, the landbased designer suggested that there was
nothing wrong with imperfection, even going
as far to say that symmetry offended him. “I
consider imperfection as something with an
element of distinction,” explained Hage.
The session concluded with Hage asking the
industry not to design for “Mr Everybody”
but to always strive to think outside the box
and to stop copying the last design; to do
away with items not necessarily used today
because they are familiar such as the bidet,
or to consider new innovations such as Toto’s
Washlet unit, which combines functions.
WHAT CAN WE CHANGE?
“It is like gold-plating
a syringe.”
– Ken Freivokh
With reference to how certain projects have
a healthy budget, Ken Freivokh stated that
often the option to invest in new innovative
ideas is sidelined in favour of adding bling.
Making a comparison with the research of
medical organisations, Freivokh suggested
that we are simply gold-plating a syringe
rather than investing in the research for new
ways to cure disease.
This was a feeling shared by the floor, with
a comment from one of the delegates
who stated that although there is a lot of
innovation in the superyacht industry, we have
lost a lot: “We’re less innovative today and
seem to have lost something over the past
few years, as Rabih Hage pointed out in the
first session.”
Hugo van Wieringen raised the issue of his
clients finding the time in which it takes
to paint their yacht and maintain it to be
frustrating. Awlgrip’s Ken Hickling was
quick to respond from the floor: “It’s the
designer’s fault because they design yachts
with too many flat surfaces. The way to get
a better finish on a yacht is by applying
less gloss, which means you conceal many
of the elements you have trouble with in
maintenance.”
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PLAGIARISM VS INDIVIDUALISM
“The customers who
will fund us to go out
and create something
new are very rare.”
– Greg Marshall
A lot of the discussions during SYD Week
came back to the importance of the
relationship between owner and designer.
The first Designer Question Time of day
one saw Greg Marshall, Sergio Cutolo and
Martin Francis explore how, when it comes
down to it, it is actually the clients not the
designer who creatively drive the industry.
“If your client is a somewhat visionary client,
looking far beyond what is in the world of
yachting today, then you can really create
something special,” Cutolo commented.
Francis spoke about the owner of M/Y Eco,
telling the audience that he had never had
such a perfect client. “He was happy to pay
for research and design…and he would give
me his chequebook every few months and
ask me to fill it in,” he said, saying that it was
clients like this that push the industry forward.
But he emphasised that a relationship like this
is based entirely on trust. Ultimately though,
all three designers agreed that clients who
are truly willing to let the designer innovate
and push the envelop are uncommon. “The
customers who will fund us to go out and
create something new are very rare,” Greg
Marshall admitted.
NEW BLOOD: THE ENTRY PROCESS
“I think our industry
has been enhanced by
people coming from
outside with new ideas.”
– Evan K Marshall
When discussing the subject of new blood
in the industry, the panel of Evan K Marshall,
Awlgrip’s Ken Hickling and Rob Doyle moved
from talking about attracting new owners
to the idea of new creative blood in the
industry. Marshall stated that almost all of
the people that he has employed over the
past few years have been to automotive
design schools. “They really bring something
extra,” he said. “One thing that new blood is
allowing us to experience is design beyond
our narrow sphere.” Doyle agreed that
residential designers can bring a fresh view
to the market, but added that sometimes
their inexperience in the nautical sector
means some handholding. “Sometimes you
end up designing the boat twice because
everything needs to be double-checked,” he
warned. “This does cost more to the owner.”
Hickling’s view was that no matter who is
working with the owner, it all comes down
to making them enjoy the process. “Our
owners are in it mainly for the fun,” he said.
“We are in the fun industry and should talk
regularly about how their money is spent on
being creative.”
team. When agreeing a deal with a client
an effective design contract will prohibit the
replication of the design for a certain period
of time and specify the option to withdraw
the licence upon a failure of payment.
INTERACTIVE INNOVATIONS
MATERIALS
INTERACTIVE INNOVATIONS
AV/IT
— Ralf Scheurer, Seele Sedak
“The international
organisation that
creates and manages IP
addresses has recently
increased the number
of unique IP addresses
from about 4 billion—
which was once deemed
enough—to 3.4×1038.
This means everything
will have an IP address
and be part of a network.
That means yachts of
tomorrow need to be
designed differently.”
– Kevin Andrews, Ideaworks
THE LEGALITY OF IDEAS AND
CREATIVITY BRAINSTORM
“Designers need
to adopt a less egotistical
approach to protect
their work.”
– John Leonida, Clyde & Co
Despite designers reporting numerous
cases of intellectual property infringements,
their eagerness to secure business often
leaves them dangerously exposed. Leonida
emphasised that many designers are not
taking the necessary steps to protect their
work before they exhibit it, or present it to
potential clients. Attempts to woo owners
with relatively intricate initial designs can
result in the design being copied without
remuneration.
Fellow brainstorm panellist Elena Cristofori
of Rapisardi Intellectual Property agreed that
any design that features a unique element
should be registered with an intellectual
property lawyer. This will ensure that,
when presented to an owner, it cannot be
replicated by a third party or in-house design
“Glass staircases
have no fire rating.”
In an innovation presentation that charged
the audience of assembled designers with
a palpable sense of dramatic opportunity,
Ralph Scheurer of the German megaglass structure heavyweights Seele Sedak
utterly awed everyone with what was
essentially a simple slideshow of what his
firm actually does. It builds formidable
buildings engineered using glass as a
structural component. Due to confidentiality
agreements, Seele Sedak’s yachting projects
could not be shown, though it’s widely
believed that Seele was the glass contractor
for the Jobs family superyacht project, Venus,
as it has been the glass engineers for the
iconic transparent cube Apple retail stores
in New York City and elsewhere. During the
question-and-answer session, hands went
up, asking whether the company would be
able to work some of its engineering into
yacht designs. With a sense that classification
society rules would never allow such creative
innovation, some of the audience remained
silent, eyebrows raised. But others dived in,
asking deeply technical questions on how
the company met building codes in places
such as earthquake-prone Osaka and San
Francisco. More questions than answers
perhaps, but a highlight of genius inspiration
at the event.
In the afternoon of day one, Kevin Andrews
of the London firm Ideaworks addressed
the audience for the first of a series of
innovation presentations. As part of his work
with Ideaworks, Andrews works with yacht
designers at an early stage to consult on how
information and entertainment technology
is integrated into the build. His forwardthinking insight into the future of virtually
every electronic device (including future
uses of data monitors in things such as food
stocks) was thoroughly engaging, if perhaps a
bit terrifying. What became clear was that the
volume of data that will become available will
continue to expand rapidly, but the global
system of satellites which yachts rely on to
transmit that data are not increasing
as quickly. Andrews made the case that
to be self-reliant, yachts require a proper
server room and internal network that leans
less on satellite systems and more on onboard storage.
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ARTISAN Q&A
SUPERYACHTDESIGN WEEK
MARCEL VAN DER SPEK,
COMMERCIAL DIRECTOR
BOLIDT AND ESTHEC
Do you think the superyacht industry is
still resistant to alternatives to traditional
surfaces such as teak?
Definitely. Whereas with other materials,
innovative alternatives and replacements
have been accepted, it seems that with teak
this is not the case. Not a lot of designers
are aware of the design options both Esthec
and Bolidt offer. Many speak about ‘fake
teak’ or ‘synthetic teak’ instead of ‘innovative
composite decking’, giving some indication of
their mindset.
How can designers help change owners’
opinions on new surfaces and materials?
Create a number of different and ‘out of the
box’ deck designs. If these are being shown to
owners this will be an eye-opener. Obviously,
the designer needs to be aware of all the
facts of these new surfaces and materials. We
believe once it is clearly communicated to
owners, the biggest hurdle is overcome.
MARK NORMAN,
PARTNER
1066 PIANOS
Does making a piano for a superyacht
require any special considerations?
Yes, the varying humidity environment requires
particular attention. Our pianos have a carbon
fibre action that produces a consistently
outstanding performance whatever the
humidity conditions. To prove how impervious
to moisture they are we left some parts under
water for three months and they were still
able to function consistently when removed.
Likewise, the soundboards on our pianos
have been specially developed to our unique
specification to provide excellent tuning
stability whatever the conditions.
Do you ever collaborate with other artists or
designers to create your pianos?
JUSTIN RATCLIFFE
We are always working with different
designers, artists and sculptors on different
projects. Typically they design the cosmetics
but leave the musical side of the project to us.
Projects have included creating pianos inside
sculptures and even ‘melting’ pianos. There
is often an interesting conflict between pure
design inspiration and musical excellence.
42
JULIET BAKER,
MACHINIST
HEIRLOOMS
How did you get into embroidery?
My love of sewing took me to Saudi Arabia
in 1990 where I really learned the craft of
embroidery; I was designing and making
fabulous embroidered dresses for Arabian
princesses. When I came to the UK 13 years
ago, I joined Heirlooms and I was able to fully
convert my skills in dressmaking to making
linens and a wide variety of accessories. When
Heirlooms purchased its bespoke state-of-theart embroidery machines I was delighted to be
able to use my knowledge from Saudi Arabia
to learn how new technology could enable us
to create fabulous designs that could
be replicated on to bed and table linens
and accessories.
What is the most challenging superyacht
project you have worked on?
There have been a few challenging ones over
the years, but the most challenging one was
a recent Dutch project. We coordinated the
complete sets of bed linens for each cabin
including mood boards which were all different
colours along with matching accessories
including laundry bags, cushions, towels and
table linens. It was quite complex and long,
but rewarding.
TJ BROWN,
MATTRESS MAKER
SAVOIR BEDS
What are the stages to making a Savoir
mattress? How long does it take to make
each one?
It is my job to make the Savoir No. 2 Savoy
mattress. It takes me two to three days to
make one mattress, depending on the size.
First, I cut the cotton and the wool to the
correct size, then lay out a wooden frame to
support the mattress case while it’s filled. I fill
it layer by layer—lambs wool, loose horsetail
hair, needled cotton and the pocket springs—
all made at our bed works. Filling the case
evenly requires a lot of skill, so does closing
the case by hand and pinning it into place. I
then slip stitch the case with a curved needle.
I call this ‘the magic stitch’ because when
people see it at shows, it surprises them how
neat it looks. I then side stitch the case to lock
in the loose horsetail hair and tuft the mattress.
The last thing I do is sign the mattress label,
like a work of art.
What is the most unusual mattress that you
have worked on?
A huge eight-foot circular mattress for a
bed upholstered entirely in suede. The bed
is in a spectacular 1970s-style hotel suite at
Stapleford Park. The room is actually known as
the Savoir Suite.
GREG HOAR, DIRECTOR
WILD GROUP
INTERNATIONAL
Why should owners and designers consider
vinyl finishes over paint?
From an exterior perspective, assuming that
the boat is built in fibreglass or in steel and
painted white, then personalising using vinyl
films offers a huge range of colours, effects
and textures that paint will struggle to achieve.
Vinyl films are quicker and more convenient
than paint to install and when it comes to
resale they are far easier than paint to remove.
Which superyacht project are you most
proud of?
Although we have worked on superyachts over
100m in length, this question shoots me back
about 16 years to when we wrapped Tracy
Edwards’ 92ft catamaran in blue and branded
the hull in Royal & Sun Alliance decals. At the
time people were very sceptical and said the
vinyl would not stay on a racing catamaran of
that size, but it did. It was ground-breaking at
the time and now it is the norm for round-theworld racing yachts to be wrapped in vinyl.
HANNAH GAGE,
ARTISAN
ARYMA MARQUETRY
What has been the most challenging
marquetry project for a yacht that you have
worked on?
The eucalyptus bark panel for
SuperyachtDESIGN Week—it was such an
open brief. I had the idea that the scaled-up
version of this piece would sit well within the
curved stairwell of a yacht as a full-height
rainbow eucalyptus tree. I combined traditional
realistic marquetry with contemporary abstract,
which I achieved by using the organic patterns
in the olive ash burr background to bring
together the abstract bark with the realistic
fern leaves. From a distance the nature of the
design draws your eye down allowing you to
take in the whole panel and get glimpses of
materials such as mother of pearl and gold.
Close up you get a much more abstract
view of the design allowing you to notice all
the individual tiny pieces in veneers such as
amboyna, vavona and lacewood.
SHELLEY FRITH,
ARTISAN
KEVIN GLANCY
What is the most challenging piece you have
ever worked on?
We’re currently working on a very intricate
design, which features hand-raised paste work.
This dinner service is for a private Royal client
and will comprise three dinner services, where
each service will cater for 32 people and there
will be approximately 440 pieces per set. One
piece of hand-raised paste takes approximately
a day to complete.
Is there a project you are most proud of?
While every project is very special, the next
custom dinner service is always intriguing, as
you don’t know the requirements until it is
confirmed. We all get enthused when we
get to test our skills on difficult designs and
seeing the finished products gives us a great
sense of pride as with each dinner service
you have had an input into each piece. Very
rewarding indeed.
How do you translate a client’s brief into
your final design?
A typical project would be like the one I
worked on recently with Andrew Winch
Designs for a yacht that was delivered earlier
this year. The starting point was a photographic
rendering of each room to give me my colour
palette. I spent a few days researching colour
trends and patterns, which enabled me to
produce hand-drawn contemporary designs
that reflected the aesthetics of each room.
At a meeting with the project managers
I presented my drawings and veneers
suggestions and their team ran through a
selection of different patterns and materials
such as leather, suede and shagreen, which
enabled me to develop my ideas and the
artwork further. After the designs were
approved, I made up a sample piece of
marquetry to give them and the client an
idea of how the colours, veneers and designs
would work together. The next stage was to
programme the design into a digital format so
that the lasers could cut all the different pieces
of veneer. The most time-consuming, but also
one of the most enjoyable, parts of my work
comes next when I assemble all the pieces
of veneer by hand, one by one, to create the
finished design.
43
DAY TWO
WILD AND BOLD IMAGINATIONS
“There’s something
about teak. [Owners]
have to have it.”
– Jonny Horsfield, H2 Yacht Design
Horsfield’s comments flew in the face of the
opening address from Christina Norris who
had expounded the enormous potential of
alternatives. Esthec in particular, a designoriented composite and sustainable decking
material (also one of the week's sponsors),
offers advantages over teak because it allows
designers to be more creative. Norris explained
that an owner had asked for family crests to be
embossed on each deck, which could only be
achieved using Esthec.
However, Horsfield said the desire for teak would
be hard to shift from the owner consciousness
after they have experienced ‘the real thing’.
“Yards have teak in stock [and they want to use
it],” he said. “And some just want to use what
they’ve used before, as it’s tried and tested."
However, he did go on to say that up to now
Esthec had been offered principally as a teak
alternative to owners and seemed to suggest by
his reception of Norris’s remarks that presenting
its creative applications to owners was worth
considering.
MATERIALISM – THE NEXT GENERATION
“Tried and tested is a huge
barrier to adopting new
things. The yard is like a
huge slab of unmoving
concrete because they are
carrying the risk.”
– Ken Hickling, Awlgrip
This was the swift riposte from Awlgrip’s Ken
Hickling to gentle bemoaning from panel
member Marnix Hoekstra, of Vripack, about
the lack of innovation in the paint used on new
build yachts. The panel and several industry
audience members agreed that designers
and manufacturers are putting in the hours of
sourcing and developing new products, but the
problem the industry faces is that no one wants
to be lumbered with the risks associated with
new products. “It’s warranty driven more than
anything,” said Hoekstra.
Jonny Horsfield took up the theme of the
preceding session, and stated that alternative
and sustainable materials have seen little uptake
in reality. “They are good window dressing for
the superyacht industry’s image, but not for my
clients—they aren’t interested in it,” he said.
44
More positively, it was noted that LED lighting
was rare on yachts four years ago but now it is a
mainstay of many design and new build plans.
This underscored the sense that it takes a lot of
time for new materials to be embraced and not
all will make the grade.
THE REALITY OF COLOUR –
MANAGING EXPECTATIONS
“White superyachts
look like a block of flats…
white is bland.”
– Ken Hickling, Awlgrip
This blandness that was identified by Ken
Hickling was emphasised even further by the
myriad possibilities when both he and Greg Hoar,
director at Wild Group International, showcased
current and soon-to-be-available options for
superyachts in terms of their coating and exterior
appearance. Taking the automotive industry as
inspiration, Hickling and Hoar outlined that along
with the growing trends of using custom colours,
pearls, matts and metallics to highlight design
features, superyachts can also apply texture,
chrome/metal effects and digital decals. This
allows new owners to brand their yachts with their
own individual style, but also gives seasoned
owners the chance to refresh their yachts, rather
than refit them, saving them both money and
time out of service for that yacht. It also gives
owners who are buying second-hand yachts the
opportunity to turn a previously-loved yacht into
one they can call their own, a stark contrast to
the popular and safe blue and white combination
on yachts.
THE CULTURE DIVIDE – BRICS & WATER
“[Chinese clients] can afford
[25m-plus yachts] but they
need the infrastructure to
maintain these boats.”
– Bill Dixon
Bill Dixon of Dixon Yacht Design and Dimitris
Hadjidimos of Claydon Reeves walked through
the culture of design in the newly established
and emerging markets of the BRIC nations. In
China, which has been previously identified as
the market to conquer, despite having a culture
with no predisposition to yachting, the key is
branding, so a focused attention by the industry
could pay dividends. However, equally, the
culture of copying could damage designers’
prestige. It was also pointed out that the cultural
differences in how yachts are used compared with
their Western counterparts means that design
may need to be sold in a different way to Chinese
clients as many of them use yachts for business
INTERACTIVE INNOVATIONS – AV/IT
“There is value in
infotainment and design.”
– Stefan van Cleef,
Oculus Technologies
Stefan van Cleef of Oculus Technologies
provided delegates with an insight into
the use of infotainment as a platform from
which the owners, guests and crew can
benefit. For owners and guests, infotainment,
showcased by Van Cleef in the form of Oculus
Technologies’ YachtEye, can add another
level of hospitality and fun to the yachting
experience. YachtEye provides real-time
information on the day’s itinerary, wind speed,
temperature, route and points of interest
and is displayed via a touchscreen system,
iPad app and a TV channel. With space at a
premium on board yachts, the system takes
up a small amount of space using just one
rack unit. While the touchscreen unit may be
deemed ‘unattractive’, as Van Cleef pointed
out, he highlighted that this problem can be
solved, lighting arrangement permitting, by
projecting images on to a table.
INTERACTIVE INNOVATIONS –
LIGHTING
“Lighting designers play
with layers of light and
temperature and create
different moods.”
– Sally Storey, John Cullen Lighting &
Lighting Design International
rather than pleasure. These yachts are often
not cared for in a way that would ensure
they run efficiently—Dixon pointed out that
some yachts can be left untouched for a year.
However, much like Russian oligarchs, who are
more globally focused and visit hubs such as
London, they are becoming more influenced
by European trends and fashions. This may
filter through to the younger generation of
Chinese and Middle Eastern clients who may
have been educated or travelled in Europe.
This could then be reflected in yachting
design in these areas shifting to more
traditional styles.
Sally Storey of John Cullen Lighting & Lighting
Design International highlighted with the
above statement that lighting designers are
imperative in the design process, as light can
change the entire atmosphere and mood
of different spaces on yachts, something
that cannot be overestimated. This was
highlighted in the technology presented by
Antonella Damiano of BCM Illuminazione,
who showcased the company’s Dynamic
White lighting, which uses the effects of cold
white and ultra-warm light it emits, creating
different ‘temperatures’, and therefore
enhancing different features during different
times of the day using only white light. The
RGB White, also presented by Damiano,
similarly reflected the use of lighting to create
mood, using the traditional RGB system,
but this time incorporating the use of white,
so that it is still an option with the colour
combination. With this technology, and the
use of lighting designers, Storey emphasised
45
DAY TWO
that a successful lighting design allows you to
feel the atmosphere the lighting has created
without ‘seeing’ the light.
MATERIAL INNOVATION
BRAINSTORM
“Unfortunately, time is
always a factor and so
in actual practice we
spend about 10 per cent
of our time looking for
new innovative materials
and ideas, and 90 per
cent making the project
happen.”
– Peter Cullum-Kenyon, Bentley
RESPONSIBILITY, SUSTAINABILITY
AND RECYCLABILITY
“Half the fuel used on
yachts is burnt powering
hotel loads, 25 to 30
per cent of which is on
air conditioning. The
other half is used on
navigation.”
– Hugo van Wieringen,
Azure Naval Architects
The final brainstorm of the week looked at
how the industry could be more sustainable
and efficient by exploring simple solutions
LUKE SPRAGUE
With a room filled with petrolheads and
automotive enthusiasts, Bentley’s colour and
trim manager Peter Cullum-Kenyon discussed
the differences he had noticed between
the luxury car and superyacht industries.
Explaining how his team worked, Cullum-
brought to light how certain materials have
been developed in a way that they don’t
become hot when exposed to the sun. With
plans under way for the launch of the first
Bentley SUV, Cullum-Kenyon revealed how
his team research new materials and ideas
while staying true to Bentley’s DNA.
Kenyon revealed that while they strive to find
as many new and exciting ideas, the majority
of their time is spent realising a project.
Highlighting some of the points raised
during The Reality of Colour and Managing
Expectations sessions, Cullum-Kenyon
detailed the challenges of applying matt and
satin finishes and the issues related to using
vinyl wraps. A point raised by Tony Castro
46
such as allowing more natural light to
penetrate the interior. Experts on the topic
Robert McFarlane of McFarlane Ship Design
and Hugo van Wieringen of Azure Naval
Architects discussed how control systems and
material alternatives for the construction of
yachts could improve efficiency and reduce
operational costs.
Specifically, points were raised regarding
hotel loads and how air-conditioning is a
substantial drain on resources in comparison
with other aspects of running a yacht.
However, better control systems could help
reduce this by reducing unnecessary usage
in parts of a yacht when not in use. For
example, lighting and A/C settings could be
controlled remotely and turned off in cabins
when guests are not on board.
DESIGN AND MANUFACTURE: THE
ROYAL FALCON FLEET
“Mr Zaman’s briefing was
very short and very to the
point; he said, ‘I want a
spaceship in the water’.”
– Roland Heiler of
Porsche Design Studio
The final session of day two saw Greenline’s
Gianluca Ascheri, Roland Heiler from Porsche
and Ivan Salas Jefferson from Royal Falcon
Fleet take to the stage to discuss their
collaboration on the game-changing RFF135
catamaran. “The challenge was probably the
exterior,” Heiler said. “And the challenge
there was that even though we worked with
an engineering company that was specialised
in catamaran designs, and it had done wave
piercers and things like this before, most
catamaran boats in silhouette still look very
much like a normal yacht because you don’t
really see the second hull.”
That’s exactly what Mr Zaman, the client
and CEO of Royal Falcon Fleet, didn’t want.
As a result, the yacht is recognisable as
a catamaran side-on from a distance and
it has an extremely unique aesthetic. All
on stage agreed that the success of the
design and project as a whole came down
to collaboration between the different
parties in the process. Built in Sweden, naval
architecture from Incat Crowther in Australia,
Porsche in Austria, Greenline in Dubai and
Royal Falcon Fleet is based in Singapore –
Jefferson admitted that coordinating it all
was a challenge but that everyone brought
something unique and important to the table.
“In a normal yacht project our company would
be involved only in the production phases,”
said Ascheri. “However, in this case there were
endless possibilities to utilise all the tools that
the design was putting at our disposal for
doing out-of-the-box thinking experiences.”
LUKE SPRAGUE
DAY THREE
BENETTI DESIGN INNOVATION
“We gave the designers
parameters. But we
didn’t want to limit their
creativity, and their
possibility to interpret
our brand in the best
way they thought.”
- Nicola Nicolai, Benetti
Evan K Marshall, Marco Casali and
Cristiano Gatto joined Benetti’s Nicolai
and Michela Bellini on stage by to discuss
the Benetti Design Innovation project; a
presentation that underpinned the theme
of collaboration that ran through the entire
week. Nicolai emphasised that the whole
project had helped take Benetti to the next
level. “If a client comes along and wants
a Benetti, we will build a Benetti with that
same family feeling and family style we
always have,” he said. “But what we would
like to do nowadays is look ahead and
present something with additional options.”
He emphasised that adapting is the only way
for the 140-year-old yard to go forward and
revealed that they were already in ongoing
negotiations with 10 clients for Benetti
Design Innovation concepts.
48
OUR COMMENTS
Among the 500 registered Designer Guests
and over 200 delegates present, the total
metre-age of signed superyacht projects
represented by the designers and naval
architects in attendance was well over
10,000. One design studio we spoke to
was working on a total of 850m-worth
of projects. The conversations, debates
and questions raised over the three days
not only highlighted what the industry’s
achievements are but what needs to change
and importantly the latent potential for
serious innovation and progress that lies
within the design community. More than
anything, the event highlighted the fact
that the real power for change within
the industry lies in collaboration. Strong
creative relationships between suppliers,
outfitters, designers, owners and shipyards
and regular dialogue about the issues that
are facing the industry today are the way
forward and events like this help build these
relationships.
For information on SuperyachtDESIGN
Week and next year’s event,
contact Amber Harley on amber@
thesuperyachtgroup.com.