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Architects and Fashion Designers Are Penning Yachts, and It’s Changing How They’re Made

Vessels by names like benetti and foster + partners look great, but can they handle the seas experts share insights., by lucy alexander.

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That design rulebook has now been thrown out, thanks to shifting priorities, new technologies, and the pandemic-fueled boom in yacht ownership. A rising generation of younger owners prefers watersports toys and wellness suites over cigar lounges and book-matched mahogany. Seductive superyacht concepts on social media promise a life in which families waft unbounded through fluid, open-plan, indoor-outdoor spaces devoid of clutter and supporting walls. 

Suffice to say, such experimentation is not typically dictated by dyed-in-the-wool naval architects but comes from a fresh influx of creative outsiders from the land-bound worlds of hotels, private homes, furniture, and even fashion. The designers serving the yacht-owning class of 2024 may be disparate, but they have one thing in common: Boats are not their area of expertise. 

For decades, a group of former apprentices of Jon Bannenberg, the godfather of yacht design, dominated the field with their trademark lavish style. Bannenberg, part of London’s “swinging ’60s” creative wave, designed celebrated vessels for the great and the not-so-great, including Malcolm Forbes, Adnan Khashoggi, and Robert Maxwell. Throughout the ’80s and ’90s, his protégés—Andrew Winch, Terence Disdale, and Tim Heywood—catered to the tastes of their plutocrat clientele (think fussy moldings, high-gloss hardwoods, tinkling crystal, and veiny marble), with their brand names adding pedigree to ships and their style seen as the hallmark of opulence. 

An embrace of the outdoors was a crucial focus for Norman Foster , one of the world’s most famous architects, whose designs for the 2008 YachtPlus fractional-ownership fleet, though controversial, prefigured some of today’s trends. Foster was perhaps the first outsider to disrupt the industry—“a conservative world” at the time, according to Angus Campbell, a senior partner at Foster’s practice who worked on the project: “You spend all this money, and then you have to look through these tiny little porthole windows; you’re on the sea, but you can’t see out. Why is that? So we looked at creating windows and external space that you can walk around.” 

In 2010, Vitelli found herself asking similar questions and decided to hold design competitions specifically for creatives from outside the industry. A successful initial collaboration with architect Achille Salvagni that same year led to a series of partnerships with other architects known for their global portfolios of luxury retail, hotel, residential, and product design, including Lazzarini Pickering in Rome, which did two interiors in the Benetti Motopanfilo line; Matteo Thun and Antonio Rodriguez in Milan, who are producing sustainable designs for the Azimut Seadeck series (the first of which will launch at Salone del Mobile this month); and Bonetti/Kozerski in New York, responsible for the interiors of Benetti’s 40M and 34M Oasis series. 

The results upended yachting convention. The traditional, strict divisions between interior and exterior were eroded, with “huge glass, huge doors” and a drop-down stern, recalls Vitelli, referring to Benetti’s pioneering “Oasis deck”—a lowered rear section with wings that fold down to create an expanded beach-club zone. 

Oceanco , a full-custom builder that counts Jeff Bezos and Steven Spielberg among its clients, now works with non-yachting designers under its NXT program, while Amer, a smaller semi-custom brand from the Permare Group , recently partnered with Milan-based architectural studio Palomba Serafini to create the award-winning F100 Glass Cabin. And in 2020, Giovanni Costantino, founder and CEO of the Italian Sea Group (TISG), reeled in the Moby Dick of designers: Giorgio Armani . The fashion maestro, who has owned his own yachts for two decades, not only signed up to create two Armani-branded 236-foot Admiral megayachts, including one launching at the Monaco Yacht Show this year, but also bought a 4.99 percent stake in TISG. 

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. Today, this generation are newcomers, and they’re consumers. That’s fine, but they need to be a bit educated about how complex it is to create a boat.” 

Ownership is expanding and changing. There were 1,203 superyacht projects under construction in 2023, according to the Global Order Book, an annual industry survey. That’s nearly twice as many as a decade prior, and demand looks likely to grow in line with the boom in multimillionaires: The most recent UBS Global Wealth Report predicts that the number of people with over $50 million in assets will rise to 372,000 by 2027, up from 243,060 in 2022. 

Gregory C. Marshall, a veteran naval architect based in Victoria, British Columbia, says his millennial clients (some are in their 20s) “just don’t seem to be interested in traditional superyacht thinking, ” adding that “they travel with a backpack and surfboards.” They want ships that are “less polished on the outside and a little more ‘How many toys can I pile on?’ ” 

But yachts are still status symbols: No one buys a superyacht solely from a love of sailing. “If people like the sea, in general they buy a sailboat,” Rodriguez notes. For grander vessels, clients see no reason not to bring in a famous name with no knowledge of the category “like they use a designer for a house in the city or in the countryside,” he says. “It’s a floating house.” 

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. 

The older generation of owners believed that conventional layouts by established industry professionals locked in resale value; today’s clients are much more comfortable with risk. Concepts aimed at this market include vessels shaped like sharks, the Star Trek Enterprise, and bird skeletons. Oceanco’s NXT offerings include Aeolus, a 430-foot gigayacht with a huge, sculpted primary suite and panoramic windows, and Kairos, which has the cosmic, asymmetric feel of a Tokyo shopping mall. 

Much of the work of external designers involves removing clutter. Giorgio Armani tells Robb Report that his blueprints were inspired by the clean lines of military vessels “and the optimization of space characteristic of old ships—away with all the infrastructures that can normally be seen, such as the tenders.” 

Inside his Admiral yacht for TISG, windows feature sliding panels to help create “spacious interiors flooded with natural light,” he says. “The sensation is wide-ranging and of total immersion in the surrounding environment.” The effect, enhanced by the stealth-wealth decor, recalls his relaxed yet deceptively decadent suits. 

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.” 

The main difference between the old and the new is a shift away from ostentation and toward a discreetly refined simplicity. Rodriguez’s mantra is “Always remove.” Instead of a bunch of gold and marble, he says, “we try to do the opposite, to keep only the materials you need, and never, never to show off.” He calls this approach the new luxury. 

Sustainability is another driver of change. For the interiors of Azimut’s Seadeck, Rodriguez says he selected exclusively recycled or recyclable materials, including a carpet made from discarded fishing nets, which Vitelli describes as “pleasant to touch.” She adds, “You don’t have that cold plastic effect—it’s like silk.” 

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 [it] does not hang together,” says Philippe Briand, the naval architect, who prefers to work only with marine-specific interior designers. 

We were trying to push the boundaries and create a better experience for the guests, rather than make it easy to tie up when you’re trying to bring it into shore. – Angus Campbell

He particularly abhors the proliferation of unrealistic concepts on social media: “They’re all fake, to be honest, because they’re not representing any existing boat—they’re only the dream or the marketing of a young designer.” Moreover, these renderings are “polluting the market,” he says, because they give clients improbable expectations. “The client says, ‘You’re creative, you’re inventive, so I’m going to order a boat from you [only] if you’re able to do the same design I saw.’ Which puts us in a very difficult situation.”

Briand cites the trend for ultralow beach clubs, which he calls unfeasible in even slightly choppy water. “To make an attractive image in a magazine,” he says, the rendering needs to be “flat, all open, two feet above the water—and, of course, on the rendering, the water is [also] flat. It’s not corresponding to any real functionality. I mean, it’s basically fashion.” 

Marshall, the Artefact ’s architect, agrees that clients often bring concepts that are impractical but usually finds that, with “some minor adjustments,” the designs are “buildable without losing the aesthetic inspiration.” He says it largely depends on the purpose of the yacht, with an oceangoing vessel requiring more serious engineering than a Monaco posing platform—not every model needs to be able to “survive a hurricane in the middle of the Atlantic.” 

Marshall likewise welcomes the creative tension inherent in a meeting between external creatives and in-house engineers. “We look at it like a war,” he says, cheerfully. “Because the reality is each discipline is in conflict with the other disciplines. You may love the styling, but the structural people go, ‘Thanks, how do I build that?’ ” The way he manages the mediation process is to “start with the concept, go to a certain point and stop, then do a structural pass, then do a mechanical pass, [then] go back to styling—and the stylists of course look at it and go, ‘Oh, my gosh, all these engineers just slaughtered my brilliant design.’ And we go round and round.” The conflict is the point, he says. “When you get the balance right, then it’s a good design.” 

Palomba and Bonetti both encountered resistance to their initial ideas for Amer and Benetti, respectively. According to the former, he had to “force the producer to create big windows,” while Bonetti recalls continually clashing with what he refers to as “the rules,” such as having an elaborately set but unused dining table in the main salon. “For us, not knowing the rules [made it] easier to do things a little bit differently.” 

That often fruitful tension between outsiders and insiders can tip out of balance in the presence of what Marshall calls a forceful stylist. He’s happy to incorporate “round windows, triangular windows, giant staircases,” as long as the vessel operates as more than a stage set. 

One veteran yacht designer, asking not to be named, points to Foster’s YachtPlus as an example of form outweighing function. “It just didn’t function as a boat that well, in terms of the normal day-to-day things, like simply tying it up. A lot of the aesthetic inspiration that non-boat people come up with is very clever, but if it doesn’t meet the core usage, it doesn’t last very well.” 

Maritime regulations often curtail the ambitions of owners and designers. A client’s desire for double-height ceilings is hard to square with fire regulations, which limit the number of open spaces. “A boat is not a bag, it’s not a dress,” says Vitelli. “There’s a lot of substance—you’re buying a floating object full of technology, so [safety] has to remain the priority.” 

In terms of interiors, most still agree that the nautical nature of a yacht should be reflected in its fixtures and fittings. “A boat should remain a boat and should remain marine,” says Vitelli, adding that she rejected some architect proposals that were too close to “a New York loft.” Bonetti also cautions against mimicking residential styles too closely. “We’re seeing some boats that if you [replaced] the view from the windows with a street, it could be an apartment in the center of Berlin,” he says, adding that vessels can reflect their authentic purpose “without going back to the old mahogany interiors.” 

But exactly how should a yacht’s design convey its marine essence? It’s partly a matter of safety, says Vitelli: It must have “rounded shapes,” because no one wants to encounter a sharp corner in a storm; handrails and non-slip floors are also crucial. But for a superyacht, it’s also a matter of luxury aesthetics—which means bespoke built-in furniture. Anything off-the-peg “is not perceived as top luxury by certain customers, it’s luxury that we can more or less all afford to buy—Poltrona Frau or Minotti.” In other words: mass luxury. 

If the glass is actually stronger than my aluminum structure, why would I make it out of aluminum and not glass? – Gregory C. Marshall

When is a boat not a boat? When it is, in Armani’s words, “a moving house, with particular characteristics.” Today’s owners employ residential architects precisely in order to create the feel of a floating home. Such personal designs will inevitably conflict with the mathematical certainties of naval engineering. But the best shipyards welcome outsiders who bring the friction that sparks creativity—such open-mindedness is especially necessary as technology continues to expand what’s possible. Yacht design is not “an ever-fixed mark / That looks on tempests and is never shaken,” as Shakespeare might have it, but instead it must trim its sails to the prevailing wind. 

Lucy Alexander

Lucy joins Robb Report from Tokyo, where she spent six years reporting on people and places in Japan for The Wall Street Journal, The Times of London, The Financial Times and the BBC. She was…

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First look inside the new four seasons yacht.

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The new Four Seasons yacht will set sail in 2026.

Four Seasons has long set the gold standard for luxury accommodations on land and is renowned for its exquisite hotels that offer unparalleled comfort and service. Now, this legacy of luxury is extending its reach to the seas. In a groundbreaking move, Four Seasons Yachts , in collaboration with Marc-Henry Cruise Holdings Ltd and the esteemed Italian shipbuilder Fincantieri, is introducing an ambitious venture into luxury sea travel. Scheduled to set sail in 2026, this initiative promises an experience that transcends traditional cruising, offering voyages across the mesmerizing waters of the Caribbean and the historic coasts of the Mediterranean.

Alejandro Reynal, President and CEO of Four Seasons, expressed enthusiasm about bringing the brand's hallmark of guest-centered luxury to the high seas. According to Reynal, this expansion into yachting is a natural extension of Four Seasons' commitment to providing personalized, elegant, and comfortable experiences. The aim is clear: to redefine luxury hospitality, but this time, against the backdrop of the world's most stunning seascapes.

The suites are breathtaking.

The inaugural season of Four Seasons Yachts is poised to offer something truly special. With ten unique voyages planned, travelers will have the opportunity to explore over 130 distinct destinations across more than 30 countries and territories. Each itinerary has been meticulously crafted, allowing guests the flexibility to design their own sea adventure. From the lively atmospheres of Caribbean islands like Saint Barthélemy and Martinique to the cultural richness of Mediterranean gems, including the Greek Isles and Croatia, these voyages promise a blend of well-loved destinations and hidden treasures.

The spacious cabins have incredible views.

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Accommodations aboard the yacht are set to be a marvel in themselves. Ninety-five suites, conceived by the creative minds of Fredrik Johannson at Tillberg Design of Sweden and Creative Director Prosper Assouline, are designed to be sanctuaries of tranquility at sea. Each suite, envisioned with elegant interiors, expansive views, and a residential feel, aims to provide guests with a sense of being at home away from home. Among these, the Funnel and Loft Suites stand out for their sheer luxury and space. They offer unique features such as splash pools, outdoor showers, and breathtaking panoramic views, setting a new benchmark for luxury accommodations on water.

The pool deck features a bar and lounge chairs.

Beyond the exquisite suites, the yacht will feature various amenities designed to cater to every guest's needs. With eleven dining options, a comprehensive spa and wellness center, a state-of-the-art marina, and an innovative pool area capable of hosting events, the yacht ensures a variety of experiences that enrich the journey.

“We’re building a stunning seafaring venture that will be enjoyed as a yacht experience rather than a cruise experience," says Thatcher Brown, chief commercial officer and head of joint operations at luxury shipping specialist Marc-Henry Cruise Holdings, the joint owner/operator of the Four Seasons Yachts brand. "The intrinsic value of Four Seasons brand leadership in luxury hospitality combined with the passionate pioneering spirit and expertise of the project team is manifested in the creation of truly special Four Seasons Yachts experiences."

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EJET Eco-Friendly Electric Motor & Drivetrain Yacht Tenders: New Model Announced

Boat engineering and design company EJET Electric Yacht Tenders has announced the development of its latest electric motor 9X yacht tender model.

Ljubljana, Slovenia - March 21, 2024 —

Much like their highly acclaimed 4X tender, the upcoming 9X model sports EJET’s proprietary electric motor and drivetrain, going in line with founder Žiga Jarc’s mission of providing sustainable transportation options for yacht owners and guests. Both models will be available in the summer, with the 9X build slated for initial testing in July.

For more information, please visit https://ejet.co/

The announcement follows EJET’s recent appearance at the Boot Düsseldorf Boat Show. Having received the International Boat Industry’s Rising Star Award, the company revealed the development of its larger 9X model with the aim of promoting environmental responsibility within the boating industry.

Designed to be lightweight and compact without sacrificing output or speed, the new tender will be powered by a 220 kWh battery and a 300 kW motor, with an option to upgrade to 340 kW, ensuring 98% efficiency and making it suitable for sports such as water skiing. The boat’s V-shaped hull has been adjusted to accommodate EJET’s custom electric powertrain and is capable of withstanding turbulent waters and inclement weather conditions. Each boat is built with standard hydraulic steering mechanisms, along with the company’s military-grade jet system, allowing for easy maneuvering, reversing, and sudden stops in both low- and high-speed scenarios.

The 9X model will also feature a digital interface, which boaters will be able to use to select different driving modes and dynamics, view real-time GPS navigation and system data, and access the smart audio Bluetooth system. Additionally, amenities such as a hydraulic bathing platform, an electric grill, an ice maker, and a refrigerator will all be available as upgrade options for all 9X tenders.

About EJET Electric Yacht Tenders

Founded in 2016 by Žiga Jarc, EJET began with the goal of developing a zero-emissions electric yacht tender that did not compromise performance or safety. The company has since become a pioneer in electric propulsion systems and remains committed to future innovations in the boating industry. EJET tenders are currently the only products on the market with custom electric drivetrains.

EJET Electric Yacht Tenders, under the leadership of founder Žiga Jarc, is actively engaged in the development of its proprietary electric propulsion technology. The initiative is part of the company's broader commitment to innovation in high-performance, long-range powertrain technology for the marine industry. This effort underscores EJET's focus on delivering solutions characterized by their lightweight and compact design, high power output, and exceptional motor efficiency of up to 98%. With a specific emphasis on extending battery life, the company aims to set new benchmarks for what is achievable in electric propulsion within the boating sector.

“We built the company and the brand on three pillars: driver-centric experience, sustainability with clean electric power, and advanced electric propulsion technology,” says Ziga Jarc. “We cooperate with the best nautical partners to create unforgettable experiences for our customers.”

Interested parties can learn more by visiting https://ejet.co/contact-us/

Contact Info: Name: Žiga Jarc Email: Send Email Organization: EJET Electric Yacht Tenders Address: 16C Mokrška ulica, Ljubljana, Ljubljana 1000, Slovenia Phone: +386-41-688-998 Website: https://ejet.co/

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Van Geest Design presents 135m "brutalist" superyacht concept

Van Geest Design has revealed a new 135-metre superyacht concept whose design is guided by "sheer brutality".

Known as Project 135, the concept is inspired by the brutalist architecture of the 50s and 60s, as well as aircraft carriers and large warships.

According to founder Pieter van Geest, the focus is on "functional design, instead of [creating an] over-designed, pretty jewellery box. Project 135 is aimed at a freethinking and unbiased owner."

Leisure features include a forward-facing observation lounge positioned above the bow, "party decks" aft and approximately 1600 square metres dedicated to the owner across two decks. Project 135 also benefits from a heli hangar and two helipads.

Van Geest added: "Sometimes, lengthy discussions and complicated details dominate projects, instead of focusing on the purpose of yachting – the fun and the joy. To make a point, we created Project 135 as the opposite."

The studio most recently revealed Domus Cat to BOAT International , an entirely open-plan, 30-metre catamaran concept.

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