Architects and fashion designers have changed how we think about yacht design with innovative creations. But how do their ideas fare on the high seas?
were once the province of amateur sailors and oligarchs—men who, aside from a shared appreciation of varnished teak, adhered to diverging aesthetic templates. For serious mariners, form followed function, and fripperies were frowned upon. The upper-cruster aboard his gin palace, meanwhile, preferred nightclub chic, with heavy doses of gold, chandeliers, and black-lacquered surfaces. Both types of vessel suffered from a surplus of wood paneling and a scarcity of sea views.
The fashion icon’s design for the 236-foot Admiral megayacht leans into his sophisticated, muted palette and prioritizes outdoor space.The brand-name appeal of famous designers targets a new type of buyer, one who shops for a yacht as they would a luxury car, says Philippe Briand, a naval architect and creator of racing vessels as well as Vitruvius superyachts. The previous generation “came with sailing experience,” he says, “so they were more aware of functionality and constraints.
Roberto Palomba’s vessel for Amer was commissioned by a client for whom he had designed projects on terra firma. “He knew me and he loves my style, so he wanted my style in his yacht,” says Palomba, who had no previous marine experience. Touring yachts as part of his research for the Oasis series, Enrico Bonetti, of Bonetti/Kozerski, found the interiors “very stiff, rigid, with furniture where nobody would sit” while also prioritizing “something flashy here, something else flashy over there. So what we tried to do is to link all the spaces together and have a continuation of materials and textures and colors.” The aim, he says, is nonchalance: “sophisticated but without showing it too much.
Change isn’t always welcomed by the technical teams who have to turn outsiders’ nautical fantasies into seaworthy vessels. “I’ve seen a lot of examples of yachts which have been controlled by the interior designer, and in the end does not hang together,” says Philippe Briand, the naval architect, who prefers to work only with marine-specific interior designers.
Baloumis agrees but admits to “frustrations on both sides.” Outsiders lack “the technical understanding of naval architecture,” at which point “we have to really guide to understand why certain things are not possible. But on the other hand, it also pushes us to see how we can make it work. And that is a nice interaction.” This Darwinian-esque struggle is necessary, he says, “because the yachting industry is quite confined, quite closed.
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