Camper & Nicholsons 63mt Creole

In the words of veteran photographer Gilles Martin-Raget, Creole is “a boat outside all the norms of size, aesthetics and history”. Certainly, at 63.03 metres, the three-masted schooner is rated the world’s largest wooden sailing yacht and her beauty is unquestionable. Yet it is the word “history” that resonates here because Creole’s back story is interlaced with suicide, jealousy and murder – beyond most norms, certainly.

Sailors tend to be superstitious souls and “the curse of Creole” is a phrase not unknown in yachting lore. It seemed it had struck again when it was reported from Italy that the vessel’s owners, Alessandra and Allegra Gucci, were being investigated for alleged tax dodging. How is it possible, a rational person might ask, for a boat to infect its owners with ill fortune? How indeed.

Yet deep scrutiny of Creole’s past reveals some strange facts, including an episode in which a medium was hired to exorcise “evil influences”. And a highly respected Italian newspaper once carried a headline that claimed “The Creole betrayed Maurizio Gucci”, her then owner and father of Alessandra and Allegra.

The omens were not good when it took three attempts to break the magnum of Champagne on the bow of the big schooner when she was christened Vira at Camper & Nicholsons’ yard in Gosport, Hampshire. It was 1927 and the vessel was considered a masterpiece of her time, not least by her architect, the esteemed Charles E Nicholson. The yacht was at the forefront of design and technology, with two generators, electric refrigeration and central heating throughout her apartment-sized suites.

But trouble began early on. When her owner, the immensely wealthy US carpet manufacturer Alexander Smith Cochran, saw the towering rig he quailed. It would be unmanageable, he said, and ordered the yard to shorten her spars by three metres. It was not enough, he maintained, after the work was done. Cut them down some more.

Vira finally left Gosport with a stumpy rig that didn’t suit her ballast. Lead was taken out at a yard in Spain, but they overdid it and she became hopelessly tender. Then, the frustrated and unhappy Cochran was struck down by tuberculosis. He died a year later, aged 55.

Vira was sold to South Coast yachtsman Maurice Pope, who renamed her Creole, apparently after a particularly delicious dessert created by his chef. In 1937 she was bought by financier Sir Connop Guthrie, who had just been made a baronet. Guthrie was a dedicated sailor who restored Creole’s rig and keel and raced her successfully until the outbreak of WWII in 1939.

Guthrie loaned Creole to the Admiralty and, with her rig removed and her deckworks changed to accept armament, she became the mine-hunter Magic Circle.

Guthrie died, aged 63, in 1945, the year that Magic Circle was returned to his family. She became Creole once more but was almost unrecognisable after her war service. Following the death of Sir Connop she languished in a sorry state until spotted by Stavros Niarchos, the Greek shipping tycoon.

It was 1947 and Niarchos, like his great rival Aristotle Onassis, was growing fabulously rich thanks to the post-war shipping boom. He snapped up the forlorn schooner and began a restoration that would cost many millions but which returned Creole to the beautifully appointed and wickedly fast yacht her designer had intended.

Niarchos added the capacious varnished deckhouse Creole has today and her cabins were hung with valuable works from his art collection. She became his floating home for long periods; his most treasured possession and, ultimately, a silent witness to tragedy and a sensational mystery.

As Creole’s restoration began, Niarchos courted Eugenia Livanos, the beautiful 21-year-old daughter of another shipping magnate. They were married, had four children and, despite his affairs, remained together.

In May 1970, they were on holiday on Niarchos’s private island, Spetsopoula, in the Aegean. With them was Athina – Tina – Onassis, Eugenia’s sister. What happened on the night of 3 May is, to this day, the subject of speculation and dark whispers, but the official version is that Eugenia killed herself with an overdose of barbiturates. At a post mortem on the mainland, the pathologist reported severe bruising on Eugenia’s body and the prosecutor in Piraeus began an investigation.

Niarchos became a suspect but he was later exonerated. According to some sources, he was cleared after the intervention of Greece’s ruling military junta, with which he had close links. It later emerged, in an account said to have been based on the testimony of a witness who was on the island, that Eugenia had caught Niarchos trying to force himself upon Tina, her sister, and a violent fight broke out.

In another account, Eugenia was said to have taken a lethal overdose in her cabin aboard Creole. What is certain is that Creole was used to bring Eugenia’s body back from the mainland to Spetsopoula, where she was buried in the Niarchos family mausoleum.

The death of Eugenia ended Niarchos’s love affair with Creole. He went on to marry Tina and sold the yacht, in 1977, to the Danish government for use as a sail training vessel for youngsters, including those in a drugs rehabilitation programme. Such work took a heavy toll; after five years, the cost of maintaining Creole was more than the Danes could justify and a new owner was sought.

In 1982 the schooner – then well over half a century old – began the phase of her life that continues today. She was bought by Maurizio Gucci, whose lavish spending surpassed everything even Niarchos had done. And, it must be said, the horror that was to unfold transcended, too, the tragedy that had befallen Creole’s previous owner.

When Maurizio Gucci bought Creole he was 35 and already on his way to heading the renowned Gucci family fashion house. He was married to Patrizia Reggiani, the daughter of a Milan businessman and mother of Allegra and Alessandra. Patrizia was one of Milan’s great beauties, an Elizabeth Taylor lookalike, with violet eyes and a captivating smile. She was also unashamedly materialistic. “I’d rather weep in a Rolls-Royce than laugh on a bicycle,” she once said.

Despite being rather hard-nosed, Patrizia was deeply superstitious and stories about the “curse of Creole” troubled her. She persuaded Maurizio to hire Frida, a medium and practising psychic, to exorcise the evil spirits Patrizia believed haunted the yacht.

The episode is detailed in Sara Gay Forden’s acclaimed book, The House of Gucci. Forden wrote that Frida “went into a trance” and walked through Creole mumbling incomprehensibly. “Open the door, open the door,” Frida cried out suddenly as Maurizio and Patrizia looked at each other, puzzled. They were standing in an open corridor; there was no door. But the Sicilian crewmember turned ashen. Before the restoration of Creole, there had been a door in that very spot, he said.

Forden goes on to say that Frida pointed to a place where, the psychic said, Eugenia Niarchos’s body had been found. Then she snapped out of her trance, said, “It’s all over” and declared Creole “free of evil spirits”.

Malign forces were at work, however. The Gucci family was tearing itself apart, riven by jealousy and resentment over ownership of the celebrated brand and the millions it was earning. Maurizio was accused of buying Creole by illegally diverting funds through a Panama-based company. The police and fiscal investigators launched an inquiry. In June 1987, the Italian papers were full of it. “Gucci in a storm over a dream yacht; arrest warrants issued” ran a headline in La Repubblica. “The Creole betrayed Maurizio Gucci” was the banner in Corriere della Sera.

Creole was sailed out of Italian waters to Mallorca to put her beyond the reach of the police and Maurizio made his own escape by riding his red Kawasaki motorcycle over the border into Switzerland.

In 1988 Maurizio was indicted for illegally exporting the money he had used to buy Creole, then was swiftly acquitted because changes in the law meant capital export was no longer a criminal offence. He rode out numerous legal storms and eventually returned to Italy, where he sold his shares in Gucci for more than £100 million.

By now Maurizio was separated from Patrizia and busy spending his fortune, a lot of which was lavished on Creole. The designer Toto Russo helped re-work the yacht’s interior, with the deckhouse decorated in sumptuous style, featuring artworks and handmade pieces carved from solid ebony and marble. There were just four guest cabins, for two people each, with their own bathroom. Her usual crew numbered 16. Guests were handed a white sweatshirt and slacks to wear on board. The top featured Creole’s emblem, a pair of intertwined seahorses.

As Maurizio enjoyed his yacht, Patrizia looked on, becoming increasingly jealous. She raged over the money it was costing – at one point it emerged he had spent €800,000 on just one area of the accommodation. It was not known whether this included the cost of buying the stingray skins that lined the bulkheads.

Patrizia was living in an apartment with her daughters, growing more and more resentful by the day, especially when she learnt that Maurizio was thinking of marrying his young girlfriend, Paola Franchi.

Then, on 27 March 1995, as Maurizio arrived at his office in Milan’s Via Palestro, a man stepped into the lobby of the building and fired three shots. Wounded, but probably not fatally, Maurizio slumped to the floor. The gunman fired a fourth bullet into his temple at close range, killing him instantly. Maurizio was 46.

Almost two years later, in January 1997, police arrested Patrizia. It emerged later that she had hired a killer, through a friend with underworld contacts, to murder her husband. She was convicted and served 16 years in jail.

Maurizio’s daughters Allegra and Alessandra inherited Creole and keep her in the style to which she has become accustomed. She is occasionally seen at classic events in the Mediterranean, although in recent years her role has been as mothership to the other, smaller Gucci classic, Avel. The Gucci sisters say Creole keeps their father’s memory alive, and certainly the yacht is associated with some of the happiest times in Maurizio’s short life.

Rationally, of course, one cannot attribute horror and tragedy to a jinx said to cling to a sailing yacht. Yet, there may always be some who will look at Creole’s dark story and experience a shiver down the spine. 

Camper & Nicholsons

( www.camperandnicholsons.com )

ISA 54,6 mt Forever One

There is very little about the 54.6 metre ISA Yachts Forever One that conforms to what we are used to seeing in a superyacht. With her imposing volume, more than 1,050 gross tonnes, lofty bow and flashy white and red livery, Forever One stands out wherever she goes and rarely leaves people indifferent.

Passion seems the most appropriate word to use when describing the yacht’s build. The project stems from an experienced Mexican owner, Bruce Grossman, who entrusted Fernando Nicholson of Camper & Nicholsons International and designer and naval architect Horacio Bozzo to fine-tune his ideas.

“Bruce was adamant that the design should be both unique and reliable,” says Nicholson. “He wanted a yacht that distinguished herself from the crowd, the right place to spend long, relaxed holidays with his beloved wife, Elsa – the ‘forever one’ to whom the yacht is dedicated. He wasn’t interested in building a yacht with resale in mind.” Thinking about resale value and charter use, as most owners do at the time of purchasing a new boat, would have affected design and layout options, and Grossman didn’t want such constraints.

The Grossmans owned several yachts before this, the last being a sporty jet-driven Mangusta 130. “My wife and I spent memorable holidays on board our Mangusta, but despite our enthusiasm, the Mangusta didn’t suit our needs any longer,” Grossman says. “We needed a large displacement yacht that might allow us to sail comfortably whatever the season and weather. As we spend months and months on board our yacht, just the two of us or together with a restricted number of friends, my new Forever Onehad to be a floating home. The projects brought to my attention by many reputed shipyards and designers neither matched my needs nor expectations. I wanted a yacht that was shaped on our lifestyle. We do love having both private and social areas providing us with all comforts, space and amenities we are used to at home.”

Bozzo, an Argentine naval architect and designer based in Italy and founder of Axis Group Yacht Design, had already worked out a concept with Nicholson for a yacht featuring an almost-reverse bow, massive volume and muscular exterior lines. When they showed their idea to Grossman it was love at first sight. The winning concept rapidly evolved into a project and ISA Yachts was entrusted to build it. Throughout the project’s development, the overall design remained nearly untouched while the interior layout took shape according to her owner’s input. With the creativity of a passionate designer and the meticulous approach of a naval architect, Bozzo designed everything down to the smallest element; he provided the builder with detailed instructions on how to build the complicated transom door, as well as how to align the coaming with a hinge or handrail socket.

Bozzo also created hundreds of sketches and renderings and discussed every detail with Nicholson, the owner’s captain Colin Skinner and the yard’s technical department. The owner, initially closely involved in refining the concept, left the project’s management to his trusted team.

Forever One is a complex yacht whose massive volume encompasses very large folding balconies, gullwing side hatches that required considerable research into longitudinal and torsional bending forces, and an articulated transom that opens up as a magnificent on-the-water lounge.

This beach club is a bold statement of design and technical skills. Grossman asked for plenty of cosy social areas, so its interior was designed and furnished as an area that can be used when under way. A window and a hatch that hinges upward allow fresh air and light into the room. Teak panels cover both window and hatch to form an extended, flush, walkable area when the door folds open at anchor.

As the project took shape, Alessandro Massari, a young and talented designer, joined the team with the mission of defining Forever One’s interior décor. The main saloon sets the tone for the inspired, refreshing interior design.

With its Hamptons-style, shore-inspired colours, the interior is bright and breezy. Discreet window treatments let plenty of natural daylight pour in. White, creamy hues of seashells, whalebone, rich earth and sand colours make up Forever One’s palette. Dark-brown wood frames the predominantly white fabrics, furniture, doors and walls with hints of colour brightening the scheme. The grand saloon on the main deck doubles as a cinema. Full-height glass sliding doors open onto side passages and fold-down balconies that, when opened at anchor, double the room’s width. The weathered dark-oak floor is a tactile experience for bare feet.

A full-beam, multi-purpose dining room is located in a separate area on the main deck, forward of the large lobby and the round glass lift that connects all decks. In this dining/lounging room, standalone furnishings allow small groups of guests to pursue different activities at once.

Alongside a custom square dining table, which can be extended to host up to 12 guests, this homey environment encompasses a games table, armchairs, comfy sofas, plus a bar with high stools. Forever One has five bars so guests can be served quickly and easily on all decks, both inside and outside. Guests have at their disposal versatile indoor areas and expansive exterior living spaces, and anyone who wants to will find nooks where they can relax.

“On board Forever One, I want to offer my guests the best comfort and amenities,” says Grossman. “I love to spend time in good company; nevertheless, my wife and I need our privacy. This is why we have our own apartment on the upper deck aft, where on a yacht of this size, a panoramic saloon would normally be. Abaft our suite, a lounging area opens onto the aft terrace. This is our intimate retreat.” The master suite also includes his-and-hers large bathrooms, two walk-in wardrobes and a room dedicated to his shoe collection.

As Forever One is not meant for the charter market, this yacht only has three large guest suites, all on the lower deck. A fourth room is fitted withhigh-end gym equipment. On the same deck, the roomy bow shape allows for comfortable crew quarters encompassing six double cabins, a generous dinette and a pantry directly connected to the galley on the main deck. Besides being spacious, the crew quarters boast a finish and joinery comparable to guest areas.

“Our crew is at our disposal all year round, and the yacht has to be perfectly maintained and ready to leave whenever we decide,” Grossman says. “We take into great consideration captain and crew, so as we spend prolonged periods on board, sometimes we go ashore in a hotel to give them a little rest.”

From the crew area, a flight of stairs leads to the bilge deck with abundant storage, refrigerators and freezers, cold rooms and laundry. On both sides, stabiliser compartments are easily accessed. A split-level engine room houses two Caterpillar 3512C engines producing more than 1,900 horsepower each – ensuring her top speed of 16.5 knots.

Forever One’s maiden voyage took her owners north to Venice in the Adriatic Sea. They were delighted with the yacht’s performances in all conditions and reported how comfortable they felt in their new floating home. She has indeed proven herself to be a special, life-enhancing yacht.

ISA Yachts

( www.isayachts.com )

Tankoa Yachts 69.30mt Suerte

Measuring 69.30 metres, the steel and aluminium superyacht Suerte was built by the Italian shipyard Tankoa Yachts and completed earlier this year. Making her debut at the 2015 edition of the Monaco Yacht show, Suerte is the inaugural vessel to come out of Tankoa and has been met with considerable praise from the industry.

Her exterior lines come from the drawing board of the renowned Francesco Paszkowski, who has created a modern yacht with generous living spaces. Her interiors also come from Francesco Paszkowski, in collaboration with Margherita Casprini, who together have designed a chic yet welcoming environment.

Throughout Suerte an abundance of natural materials have been utilised - as per request of the owner - which elaborates the aforementioned warm and welcoming ambiance on board whilst still remaining contemporary. This is certainly present in the accommodation on board, with several sophisticated cabins for guests to fully enjoy.

The upper deck master suite is particularly impressive, with a capacious plush bed centred in the oval bedroom overlooking large windows, flooding the area with natural light and allowing the owner to enjoy spectacular 180 degree views both day and night. Furthermore, the owner’s suite also features a private terrace, with a large sofa and intimate Jacuzzi surrounded by sun pads.

On the starboard side of the aft deck is a sofa/bed facing a flat screen TV hidden by a glass panel. This section will be used as a casual TV room but, thanks to sliding walls, it can be isolated to be turned into an extra cabin with bathroom. On port side, there is a Sushi Bar with stools and restaurant styled tables. The center aft portion of the deck is a panoramic salon with giant flat screen TV, fireplace and baby grand piano. The ceiling, here, is a masterpiece with high glass skylights installed in the bottom of the swimming pool.

The panoramic deck is shared between the all integrated glass panel wheelhouse, the captain's office and the captain's cabin. The aft part of the deck is the gym, with state of the art equipment, bathroom, and elevator to access the crow's nest as well as a rest area.

Consisting of a large VIP suite and four additional cabins, guest accommodation is located on the main deck - a welcome contrast to the usual lower deck arrangement. All cabins enjoy the presence of natural light thanks to oversized windows as opposed to the conventional portholes. Decoration is a mixture of washed teak, elegant piano black lacquered details and black marble with some touches of rich leather upholstery. The lower deck is entirely devoted to crew.

Elsewhere inside, the main saloon has been conceived as a truly family orientated space, with a comfortable U shaped sofa surmounted by a library and two deep armchairs able to fit a total of 16 people. A 4K TV measuring 88 inches means that a cosy cinema style environment has been achieved. To the front of the main deck, a stylish formal dining area is found, again comfortably seating up to 16 people. This area features floor to ceiling windows as well as a unique partition wall highlighted by a fish tank, while the fore bulkhead is a giant wine display created by Paszkowski.

Aft of the main deck a beautiful winter garden is found, entirely surrounded by glass walls offering a nice transition between outdoor and interior space and featuring a cosy bar area. Decoration of this area has been clearly inspired by Japanese houses, using a palette of greens with floor to ceiling windows and slate floors.

Outside, she boasts a wealth of The beach club is dressed in washed teak panels, while the back wall is entirely made of slate. In the center of that wall, a central staircase leads directly to the main deck and its reception area. The upper deck is equipped, in its aft section protected by the overhang of the sun deck, with a 16 person dining table, a lounge and two L-shaped sofas allowing perfect view to the sea whilst enjoying the very best of al fresco dining. The usual stainless steel balconies have been replaced by tempered glass.

The sun-deck, aft of the top deck, is another great social area for guests to enjoy, with a touch-and-go helipad. At night, the heli-deck becomes a dance floor with lights, speakers and a DJ station. Further to the front of the top deck, two sun pads as well as a five metre swimming pool are found, complete with built-in stools to enjoy drinks at the bar that ends the pool. The pool is also equipped with a waterfall flowing like a water blade from the superstructure.

Another interesting feature is the crow’s nest that has been designed on the roof where owner and guests will surely enjoy navigation. This area is accessible via an invisible ladder or using the second elevator leading there from the gym.

In her garage, Suerte houses Seabobs Cayago F7 as well as two 7.5 metre tenders for up to 12 passengers, whilst multiple jetskis are installed in the two side foredeck garages. In regards to her performance, she is powered by twin CAT 3516B of 2,480 hp each. This gives her a top speed of 16.5 knots, a cruising speed of 15 knots, and boasting an impressive transatlantic range in excess of 5,000 nm at 12.5 knots.

Michel Karsenti and Yacht-Ology are the sales and marketing force at Tankoa Yachts, and commented on the success of the yard’s inaugural vessel: “This launch was very emotional for all of us. The entire design phase conducted with Francesco Paszkowski was heading towards creating a modern yacht that would still look very good in ten years down the road. Seeing her sitting perfectly in her lines gave all of us the feel of a well-achieved teamwork. Getting to such level of technical achievement with a first yacht is the living proof that an Italian yacht builder when investing wisely can compete with the world’s best shipyard.”


Tankoa Yachts

( http://www.tankoa.it )

CRN 55mt Atlante

Atlante was designed by the Italian design studio Nuvolari Lenard. The naval architecture was done by the CRN in-house engineering team.

Atlante’s strong and sharp exterior design was inspired by military vessels. She has 5 decks and a beam of 10.20m. She reaches a top speed of 15 knots and a cruising speed of 14 knots with her twin 1230 KW Caterpillar diesel engines.

CRN’s Chairman and CEO Lamberto Tacoli says:

“Launching a new yacht is always a moment of great pride for the entire Shipyard as emotions go hand in hand with the satisfaction of knowing that each and every one of our products is going to represent our brand and Made-in-Italy yachting across the world’s seas. The ‘ATLANTE’ is an extraordinary jewel – a very innovative one – we can truly be proud of. We are deeply grateful to the Owner Company for choosing us to build such an extraordinary yacht; to the design firm Nuvolari Lenard, that through the ‘ATLANTE’ have once more confirmed their incredible creativity; and to all CRN’s workers and subcontractors who were involved in this project from its very beginning to its final completion”.

Dan Lenard commented:

“We conceived and created this new yacht together with CRN following the requirements of the Owner Company. The outer lines have been developed having in mind a specific final look – aggressive, but at the same time very proportionate. Seen in her entirety, this is a high-impact yacht, whose determined military look becomes soft on the sea. This is why we found some original solutions, such as a non-traditional bow and areas entirely devoted to guests, like the side doors of the main deck that, once the tenders have been launched, can be exploited to the fullest”.

Spanning over five spacious decks, super yacht ATLANTE is run by twin 1230 KW @ 1800 RPM CATERPILLAR diesels, delivering a top speed of 15 knots and a cruising speed of 14 knots.


CRN

( www.crn-yacht.com )

Lürssen 66mt Ester III

Ester III’s distinctive lines are the work of Espen Øino, and he calls the conception of the yacht “both an opportunity and a risk”, for the simple fact that the owning family are his “good personal friends”.

The lines of the yacht are strong and business like, with a number of keynote features outside. The dedicated helideck above the wheelhouse is certainly there to be regularly used. “It enables the owner’s family to arrive and leave the yacht without interfering too much with life on the aft deck,” Espen Øino says. Gull-wing doors forward reveal a spacious tender garage, which also serves to free space aft for a spa area.

“Food and hospitality is a big thing for the family and the top deck dining is organised around a barbecue and teppanyaki-fitted kitchen that doubles as a bar. Entertainment on deck includes external cinema and a disco/stage – as well as amenities for golfing!” he says. The exterior spaces have also been maximised for differing weather conditions, with appropriate levels of protection.

The Reymond Langton Design inside is equally blessed with highlights. “The owner requested a French classical theme, but with an authentic contemporary interpretation of this style. French classical with a twist!” says Pascale Reymond. At the heart of the yacht is the set-piece staircase that displays the marquetry skills of Silverlining, and uses wood veneers, leather and metal. In the main deck salon there is a cosy fireplace, as well as seating and dining areas, while the vast owner’s suite is forward on this deck. There are five lower-deck guest cabins, each with a unique theme “derived from bespoke fabric artworks that rise from the headboard and wrap onto the ceiling”, says Reymond Langton Design.

The lower-deck spa, with its Assyrian influence, boasts a massage room that doubles as a hair salon, and a sauna and steam room. Ornate mosaic inlays and a full-sized wall relief carved in stone in the gym combine to form a relaxed, calm yet energising ambience, with direct access to the sea.

“Two world-leading design studios, each adding unique ingredients to the successful recipe, together with a number of owner-commissioned artisans, have allowed us the opportunity to create a truly unique vessel that opens the eyes to new possibilities in designing spaces for living. Combined with Lürssen engineering and expertise, the end result is a superyacht that will provide decades of seaworthy enjoyment,” says Lürssen.


Lurssen Yachts

( www.luerssen-yachts.com )

ISA 66mt Okto

If silence is a virtue, then Italian yard ISA’s biggest launch could be the best boat afloat; the experience of 66 metre Okto is one of pure design expertise allied to the uncompromising use of fine building materials.

We’re out past the breakwaters of Port Hercules before I realise we’re moving. Owner’s rep George Mourkakos motions at the cabin porthole and I almost stumble, my brain suddenly recalibrating as the water flashes by. We’re in the rearmost guest cabin, lower deck, starboard side. There’s a single bulkhead between me and the main machinery spaces and yet I hear nothing. Nor am I vibrating, despite the nearly 5,000 horses warming up just feet from where I’m standing.

Before I can say anything, Mourkakos tells me to wait and goes into the opposite guest suite, closes the door and flushes the toilet. Or at least that’s what he tells me he did when he returns – I didn’t hear anything. This whole lower deck is arranged so no headboards abut the same wall, drawers have to be lifted up and out to avoid rattles and all the doors – at a mere 120 kilos – have rubber stoppers that drop down when closed, creating a soundproof seal. It’s all one massive study in shhhh.

This is best demonstrated in the main deck master suite. Aretha Franklin is warbling at about 70 per cent volume in the study behind the owner’s sleeping quarters, but close the door and she’s instantly muted. Mourkakos smiles – point made.

It says something that for a boat as cool as Okto, the thing that impresses most is the serenity she offers, with sound levels in the cabins while underway around 47dB(A) – like a dishwasher in the next room – and vibration one-third to half that required by the contract. Yes, the pool is amazing, the deck spaces abound and the Alberto Pinto interior is very, very special, but it’s under the waterline and down in the engine room where this 66 metre ISA truly excels. Mourkakos has worked with the owner, whose previous boat was the 82 metre Oceanco iconic yacht Alfa Nero, for 10 years.

“I know the owner, I can anticipate him. We never specifically discussed things like noise and vibration, but we both wanted to do something the industry would notice,” says George Mourkakos. And it has.

ISA’s biggest launch to date was built with a no-expense-spared approach. The tank testing alone took four months, with BMT Nigel Gee working with ISA to develop the hull, which is carried all the way forward into a tall, wave-slicing blade. James Roy, BMT’s yacht design director, says a “significant” team from his company, covering naval architects and structural and mechanical engineers, was deployed to work on the yacht, culminating in a testing regime “more in-line with the testing carried out on specialist commercial vessels”. There were also smoke tests to make sure the superstructure didn’t create dragging vortexes, or leave any exhaust gases swirling around the decks.

If it’s hard to tell that the engines are running, it’s even harder to tell when we’re turning. Out towards Antibes, we start weaving before about-facing for the passage back to Monaco, but there’s no lean – not even a trace of one. Bluff-bowed boats do tend to be tilt free, and she’s hardly some slab-sided, top-heavy wedding cake, but still the ease and level of the turn – albeit with a bit of cavitation out the back – is impressive. The penalty for that upright bow and lack of flare can be a sloppy ride in a big sea, and the captain, Sebastian Gerads, confirms that she may ship a bit of water when pitching, but says he’d rather have this than a lolling, uncomfortable slam-fest.

“It just cuts through it, like a knife through a cake,” he says. Compared to a 100 metre he skippered previously, Gerads is much happier on Okto: “[The 100 metre] had a big bulbous bow and even in 1.5 metres of sea there would be vibration. Sixty-six metres is the perfect size: it just fits between the waves,” he says. She runs lean, too, “consuming much less than expected”, adds the skipper. “Compared to a 60 metre I had before, she’s way less thirsty.” Okto hit 18.75 knots on sea trials, above her contracted requirement of 18, and that was in two metre seas, says Gerads.

It’s hard to ignore that pool for too long, however. As on Alfa Nero, it’s the first thing you see when wandering up to her on the dock, and makes quite an impression. Andrea Vallicelli designed Okto’s exterior and says the pool – 6.5 metres by 4.7 – was one of the most delicate parts of the entire project, “because the aft of the boat is visible and quite narrow”.

It’s narrow because two wide stairways lead up from the bathing platform to the main deck, then again up to the bridge deck, and once more to a perch at the top of the boat with a spa pool and gym. These mirrored stairs up the boat are something of an ISA signature, and while they pinch volume from inside, they also provide a wonderful flow between decks that’s hard to beat.

There’s 80 square metres of open deck on the bridge level alone – plenty of space for lounging. But this is also the dining and dancing deck, with its 1,000W speakers fed by Videoworks software and free-standing seating around a table set out for eight. Although the touch-and-go helideck forward – good for a Eurocopter EC135 – has also been pressed into use as a dance floor on occasion. Unusually, real teak for the decks has been eschewed in favour of synthetic Esthec, in a blondish hue, with broad planks running along the centreline narrowing towards each beam.

“For the plank thickness we studied mathematical progressions,” says Vallicelli, “like the Fibonacci Sequence. It was very challenging connecting this type of decoration with the detailed design of the fixed external furniture.”
The Italian designer had a bit more fun with Okto’s fluid exterior lines, the brief for which was pretty open. The 66 metre platform could comfortably take a proper third deck, but Vallicelli wanted to keep things low.

“The only recommendations were to design an original yacht, unique, and outside any known standard,” he says. “All main technical configurations, like the forward helipad, the aft swimming pool or the gym on the top deck, were conceived to maintain a sleek and stylish profile.”

It’s a design that flows pretty seamlessly into the interior, which flirts with flashy but never crosses the line. Whether entering on the upper or main decks, the first thing you encounter are circles: a formal dining table below and a circular cinema room above. Both operate as inside-outside spaces thanks to enormous doors opening them onto the decks.

In the case of the main deck, the doors are some of the biggest yet installed on a yacht in Italy, according to Mourkakos, and when fully drawn back – at the touch of a button and whisper quiet – open up a five metre aperture. The fabrics used in the seating on the main deck reflect this openness, and have a beach club feel. A lot of work went into the design of the seating to maintain views out over the water, even when you’re at maximum recline. “The owner was fed up owning boats with main decks that never get used,” says George Mourkakos, who also demanded high ceilings – at least 2.2 metres throughout.

Okto was one of the last boats the late Alberto Pinto worked on before his death in 2012 and the owner’s whatever-the-cost philosophy is underscored with the choice of fit-out contractor List of Austria to bring Pinto’s designs to life. List’s considerable reputation is confirmed in the flawless edging, precision alignment of cabinetry and wonderful clunk as you close lockers and cupboards.

Pinto’s studio is now run by his sister Linda, who says, “The owner was looking for a style that was simple yet dynamic. The boat has a sporty allure, which can be found in the interiors by the choice of materials in harmony with the spaces.” The studio also worked on Alfa Nero, so had a useful understanding of the owner’s style.

“The owner asked us to continue in the same spirit as the previous vessel, which is a modern, easy to live in luxury yacht. He wanted it to be as open as possible with beautiful openings to the exterior. The grand windows let much light in, so we worked with dark woods for the main lounge and a zebra wood for the upper deck lounge. As for the owner’s cabin, it was worked with whitened sycamore wood and the finishes were done in shiny varnish which thus reflects the slightest ray of light.”
The owner’s quarters definitely need some explaining. Adjoining the main master suite is another cabin, with a big double bed. It’s a study-cum-nap room, but could also serve as a VIP cabin, or a bedroom for young children who don’t want to stray too far from their parents. As a study it works beautifully, with an enormous window offering fantastic views when sitting behind the desk. Such is the quality of the sound insulation, though, that it can be used completely independently of the owner’s cabin, so friends could stay here too. In this arrangement, the only access to the owner’s cabin is through a dog-legged corridor, lined either side with hanging space. The master bathroom and an intimate vanity area are to port, and the corridor isn’t so much a walk-in wardrobe as walk-through one.

No windows are forward in the master cabin, but a good amount of light makes it through skylights in the deckhead, and to starboard is a fold-down balcony – but with a difference. No owner wants crew trudging through their quarters with stainless steel guardrails that need to be slotted into the balcony when folded down, so Mourkakos demanded a solution that required zero crew. The answer is a system whereby guardrails fold up out of the balcony at the touch of a button, and fold down flush when the balcony folds back up. It’s all push-button owner operation. Even cooler – literally – is the technology keeping the bugs out. When the balcony is down, a precise air curtain starts flowing, creating a barrier to insects, and keeping air-conditioned air inside.

The supreme lounging space is upstairs. “The owner hates projectors on board,” Mourkakos explains as he switches on the outrageous 103-inch plasma screen in the upper deck saloon. Close the doors, lower the curtains and lights with the iPad interface, and select a film from the Kaleidescape entertainment system and you’re set for a night in. This is a very popular place, Mourkakos reports. It’s served by a big, practical pantry, accessed from the main deck crew area. The galley is narrow but long, and the crew lounge on the lower deck is split into two – so two films can be watched at the same time.

A lot of thought has gone into crew movement, with deckhands able to access the forward tender garages from the crew accommodation, as well as a superb tunnel on the tank deck running to the double-height engine room. There’s no beach club on Okto: the owner could have specced it, but chose extra tender storage instead. It’s a good decision, since the intrusion of the deep pool doesn’t mean there’s acres of space. And when up a few easy steps is one of the best pools on the water, why do you need an extra entertainment area so close? Much better to stuff it with toys and a 6.2 metre Ski Nautique.

We tuck back into Monaco harbour, and I watch from the bridge wing station as skipper Gerads expertly moors us stern-to alongside Quai Rainier 1er. It suddenly occurs to me that I haven’t asked the obvious question: why did the owner downsize from an 82 metre to a 66? “He said to me, ‘George, every time I come on board [Alfa Nero], I see new people, new crew.’ So he wanted the same luxury and quality but in a smaller package,” Mourkakos explains.

He found it at ISA Yachts in Ancona, which has delivered in Okto a boat with all the hallmarks of a Northern European production. As I grab my bag to leave I crane my neck so I can hear if the skipper’s turned the engines off. It’s no use: I can’t hear a thing, except that Aretha song in my head: R.E.S.P.E.C.T.


ISA Yachts

( www.isayachts.com )

Lürssen Yachts 95mt Kismet

As owner of NFL franchise the Jacksonville Jaguars and Fulham Football Club, yacht owner Shahid Khan knows the sporting maxim: you don’t change a winning team. So when he wanted a new, bigger, better yacht, he knew exactly what to do to create his new 95 metre Lürssen Kismet. Launched in July, 2014, Kismet took a win at the 2015 World Superyacht Awards, claiming top spot in the Displacement Motor Yachts of 1,3000GT to 2,999 GT of 75 metres and above category.

When Shahid Khan ordered his first Kismet, in 2004, the gist of the brief to his design team was “make it impressive”. Not only would his family be using the boat for their own enjoyment, but Khan wanted it for corporate entertaining as well as for charter service. That 68 metre motor yacht, launched in 2007 by Lürssen, was successful on all counts, but in the intervening years Khan’s business and his corporate guests have both increased in size. He now owns two football teams, one in the UK and the Jacksonville Jaguars in the US. The American footballers, in particular, mean that Khan does have some pretty bulky guests to accommodate. Sixty-eight metres just wasn’t cutting it.

Enter the new Kismet, launched last year, all 95 metres of her. Her size alone is impressive. Then there is the four metre silver statue of a jaguar, its paw resting on a football helmet, that graces the bow on game days; the two helipads and all that space – enough for his Jacksonville Jaguars to stage a practice. The number of decks for owner and guest use – five – is the same as on the previous yacht, but the scale of those decks, the accommodation afforded by eight suites, and especially the size of the areas dedicated to entertaining, are where the new Kismet really scores.

There are obvious advantages when the team responsible for a successful superyacht project is reassembled for an encore and, indeed, the owner brought all the original Kismet players back together: Moran Yacht & Ship, to develop the specification package and oversee the build, which again was at Lürssen; Espen Øino, for the exterior design; and Reymond Langton for the interior. Just as important in ensuring that the new yacht functions as smoothly as the first, is the fact that Captain Kyle Fultz and his wife Gerry, who serves as purser, have crewed for Shahid Khan for 15 years and have the benefit of knowing how the family lives, works and entertains. The Fultzes made frequent visits to the yard over two and a half years implementing the owners’ wishes for the new luxury yacht.

“They made it what it is,” Shahid Khan says. “Sometimes they would have to take on the yard, sometimes the designers and sometimes they would have to take on the owners,” he chuckles. “They would say to me, ‘yes, you can have that but you would have to give up this function.’ I knew the design of Kismet had to follow the function.”

Khan, who left Pakistan as a teenager to attend the University of Illinois, personifies the American dream with a story that starts with him washing dishes and selling ice-cream, takes in marrying his college sweetheart Ann and results in him owning a $4.4 billion auto parts company with 13,000 employees. He first tested the waters of yacht ownership in 1999 by purchasing a 39 metre Feadship named Gallant Lady from his friend and customer, the late Jim Moran, a car dealer and philanthropist. He told yacht broker Rob Moran, founder of Moran Yacht & Ship, that if he liked yachting, he would have a boat built. Apparently, he found yachting more than suitable and, after several years aboard the Feadship, started talking about building from scratch.

“We were six months into the specs for his next boat when the economic crisis began,” Moran recalls. “Two weeks after Lehman Brothers collapsed, we had a meeting. The market was falling about 1,000 points a day. We were prepared to hear [Khan] say he was halting the project; instead he said: ‘Everybody thinks I’m mad but I’m going to do it.’ He’s a forward-thinking progressive and he makes decisions other guys wouldn’t.”

They started with a design of about 85 metres. “What was originally offered is not what you see today,” says Moran. “He challenged the designers a lot. He’s heavily influenced by automotive shapes and he pushed the designers to the max.” The max became 95 metres.

Pascal Reymond, of interior design firm Reymond Langton, says: “He asked us to scale up the drama of the first Kismet; he had seen [our work on 134 metre] Serene and wanted that level of detail.” Her lead designer on the project, Jason Macaree, credits a collaborative process. “She (Ann Khan) has a clear idea of what she wants things to look like and he (Shahid) drives things to be at the edge. He presents ideas, they are good ideas, and we would work on them, bounce them back and then they would just grow.”

One example of this process is the video walls in the space separating the main saloon from the forward section of the main deck and flanking the stairs to the deck above. Originally a pair of curved stairs, like a double helix, was envisioned to rise between the floors through an open atrium and the renderings showed curved artwork surrounding the staircases. “Then it was Shahid’s idea to have one staircase only with a video wall and open space opposite. Ann said she thought there might be room for a piano there and that led to the idea of creating a more intimate lounge in that space. We made a presentation on that idea and, in the middle of that presentation, she asked if the piano could be integrated into a bar. Well, you’ve seen it, it’s a piano that can be heard through two decks and it’s a bar, but it’s really a work of art. That’s the way this entire project evolved,” says Macaree.

It is why Kismet, despite her size and the fact that her remit is to charter, is so intensely personal. Shahid Khan says he has space to host parties for 270 people and yet there are also comfortable places to go when he’s alone on the boat.

The video walls – with one extending two decks high – are a unique piece of work, made up of 42 individual 140-centimetre monitors. Yes, they can show Fulham's football games, news or films, but they are also programmed to show digitised, high-definition moving artwork as a backdrop to life on board. The system, installed by Atlanta’s Techno Gurus, also links to a pair of high-def cameras mounted outside that can convert the walls into virtual windows.

The massive art deco staircase between the video walls leads from the main saloon to the upper deck lounge, but is not, in fact, the yacht’s centre of circulation – that is farther forward and comprises a lift and offset stairs leading to all decks. But it is the link between the four primary indoor guest entertainment areas on two decks: saloon and cinema on main deck and dining room and lounge above. It’s a feature, amongst others on board, that had Lürssen’s engineers scratching their heads.

“There were, of course, many challenging design features both inside and outside, which gave our engineers some headaches but as expected we were able to solve them all,” says Peter Lürssen, the yard’s CEO. “Particularly, the level of detail on the exterior furniture with its decorative features, was something we hadn’t done before to this extent. And the stunning staircase is a feature that has brought many engineers and craftsmen a few more grey hairs. But that’s our job."

An etched glass walkway spanning the atrium connects the bar with the dining room. It is a masterful way to keep the party connected between decks while exterior stairs link the two aft decks. During inclement weather, sliding glass panels flanking the aft owner’s deck turn that space into a winter garden and outside dining area in all but the worst winter or tropical downpours. The adjacent V-shaped bar – back-lit onyx with RGB colour controls – is party central, but to get celebrations off on the right foot, the aft main deck begins with a convivial outdoor bar. The entire area becomes one big social loop. Add in the bridge-deck lounge above, which looks out over the aft helipad, and the spacious sundeck higher still, with both pool and spa pool, and large-scale entertainment is guaranteed.

One of the challenges Reymond Langton faced was in creating enough intimacy for family use or small charter parties on such a big yacht. Smaller spaces such as the up to date cinema, which is adjacent to the six guest cabins on the main deck and doubles as a guest saloon or reading room, the bridge deck lounge up top and the gym and spa below, show that they have not forgotten the value of cosiness. In fact, there are four fireplaces aboard to ensure just that.

Kismet really shines in details. Each of the five guest suites has not only a unique colour scheme, but uniquely themed door trim. Their position on the main deck means that the suites are wide and multi-windowed. It also has an unusual feature called a sea cabin, carefully placed on the lower deck on portside amidships, where motion will be at a minimum for guests who suffer from seasickness. Of course, its placement adjacent the guestgym, the spa and the starboard side fold-down tender dock would make it equally coveted for other reasons.

“You can go one of three ways with a spa,” says Pascal Reymond. “You can either put it up top and make it surrounded by glass walls for light and views; you can put it adjacent to the beach club at the stern, but that ambiance might suffer when the stern door is closed, or you can put it deep in the ship where it’s naturally going to be dark and cosy and restful with little motion. This is what the owner chose for Kismet. It’s very much a meditative space.”

Indeed it is. Dark stones and interesting juxtaposed textures – from smooth flat rocks to glass to various wood surfaces, including a door that had patterns routed into its face and then was singed for effect – provide just the right amount of physical stimulation while the hammam, spa pool, cold plunge pool, steam shower and massage room are focused on relaxation. The light is soft and soothing.

Behind all the beautifully, exotically finished owner and guest areas lies the heart of the yacht: not just the engine room, which is a typical two-deck Lürssen paean of efficiency, but rather the attention that has been put into the operation side of things, or “back of the house”.

“The first Kismet was the first Lürssen with the ‘Moran cathedral’ engine room: two storeys, with a separate control room,” says Khan. “Some people thought it was a waste of space, but we have factory experience and know how much good visual connection improves the work.”

The crew passages and their connectedness to stores, exteriors and the areas they need to access quickly and repeatedly for service are brilliantly thought out. The main deck placement of the galley, for example, might be considered atypical yet it was arranged to service interior and exterior dining areas above and the social areas on the main deck as well as to receive provisions. The spa also has hidden access so crew or visiting therapists do not travel through owner areas.

The under-deck crew passage contains copious amounts of linen storage and connects to the laundry on the same deck. Like most of the things aboard this yacht, it is well worth the space allocation and adds to function and maintenance: key design elements that are often, unfortunately, overlooked by less experienced project teams or owners. “The crew areas, their cabins and the crew gym as well as the passageways and work spaces, have a positive impact on crew retention, our charter operation and resale,” says Khan.

Kismet itself is a Turkish word that means destiny or fate, perhaps resulting from random forces set in motion long ago, like a 16 year old arriving in America to study engineering and ending up with a superyacht.


Lurssen Yachts

( www.luerssen-yachts.com )

Feadship 101mt Symphony

The largest Feadship ever built, the 101 metre superyacht Symphony, has been delivered. New photos show her leaving The Netherlands on her way to the Mediterranean for summer cruising season.

Symphony, formerly known as Project 808, was launched in January 2015, at which time engine room commissioning and work on her upper deck was completed.

She is the first Feadship yacht to exceed the 100-metre mark, surpassing the builder's previous flagship, 99-metre Madame Gu, launched in 2013. It's also the first Feadship yacht built to be fully compliant with the new Passenger Yacht Code (PYC) regulations, which allows for pleasure yachts to carry 13 to 36 passengers. Building with PYC has allowed for a custom interior that makes use of veneers, leathers and exotic materials that are compliant with the new rules. She is also certified for chartering with helicopter operations.

The yacht features exterior design by legendary yacht designer Tim Heywood with naval architecture by Feadship De Voogt Naval Architects. Her accommodation is spread over six decks, with up to 20 guests hosted in six staterooms, including one full-beam VIP cabin, double owner’s stateroom and additional guest cabins on the lower deck.

Symphony is kitted out with a gym, a beauty salon and massage room and carries no less than three custom Pascoe tenders of 9.6, 8.3 and 7.85 metres, as well as two wave runners, two Seabobs, windsurfers, watersides and various inflatable toys. Her layout includes an observation lounge, bar and Jacuzzi on the sun deck, while the bridge deck features a terrace and outdoor cinema. The main deck hosts a six-metre contraflow, glass-bottom swimming pool with waterfall, and below the pool on the lower deck is a lounge, beach club and wellness centre, as well as an ultra-high-definition megayacht cinema.

The owner's deck boasts a full-beam stateroom, his-and-hers bathrooms, dressing rooms and a sauna, a private office and study, and a forward terrace with Jacuzzi. The owner's aft deck hosts al fresco dining for 20.

Powered by four MTU 16V 4000 M73 engines, she is anticipated to reach a maximum speed of 22 knots and achieve a range of 5,000 nautical miles.

Symphony made a quite a stir when she was moved from the Feadship Van Lent yard earlier this spring to start her sea trials. She cast off in darkness and wintry conditions, heading south through the Zweiland and canals past Leiden to the North Sea port. The beamy superyacht had to slip through narrow locks and waterways, one that went over a highway, giving us the amazing shot seen above.

The 14 metre beam of the steel-and-aluminium, twin-screw project 808 was a tight fit through the bridges on the way out to sea. The Feadship Fan Club Facebook page reports, “The passages of the bridges were a close fit. The shore support even had to use thin mats instead of the common fenders.” The page also reports that despite the late hour of the move, mid-winter, many Feadship fans were riverside to watch the superyacht make her way seawards.

Feadship

( www.feadship.nl )

Sunrise Yacht 63mt Irimari

Turkish shipyard Sunrise Yachts is ready to enter a new market segment of the superyacht build sector, and nothing proves this more than their latest launch, superyacht Irimari. Their largest vessel to date, the 63m Irimari, exudes an elegant exterior by world renowned designer Espen Oeino, with a simple profile focusing on large deck spaces that is matched with an incredible volume of nearly 1,400GT. Irimari means business, and as the first of a series of 63m yachts, is set to become a benchmark; not only for Sunrise but the entire industry.

Irimari’s sundeck is rather unique, and has been divided into three separate areas, while still having the feeling of each area linking seamlessly to the next. Forward one finds an oversized Jacuzzi flanked by a sunbathing area on either side. This area is also served by a wet bar and formal bar section where guests can enjoy their drinks whilst sunbathing, or under the starry night sky when entertaining in style. The aft section is the ideal sunbathing or early morning workout spot on board, with access to the exclusive observatory deck above from here.

The sundeck also features an interior area, where guests can escape the sun while still enjoying the outdoors. Here one is invited into a space with relaxation and wellbeing in mind. Guests can make use of the audio visual system while relaxing on a set of custom recliners, enjoying a view unmatched anywhere on the yacht. The possibilities extend to private breakfast occasions, or a safe play area for the youngsters on board with easy to move free-standing furniture.

The aft bridge deck area is dedicated to large gatherings and group dining occasions. This space allows for good protection on windy days at anchor, while still providing excellent views from the large 10+ dining table.

Below on main deck aft, the deck space has been kept simple with an oversized U-shaped seating area inviting guests to enjoy the outdoors in the ideal social area on board. The minimalist approach to this deck is complemented by the sloping bulwarks, which create a great sense of freedom and interrupted views from every angle.

The team at Focus Yacht Design is responsible for Irimari’s incredible interior, and styled the expansive areas with a fitting touch of elegance and a certain amount of opulence. Few yachts of this size boast such views from the main salon, with extra large windows and recessed bulwarks on either side creating the perfect indoor meeting area when underway or relaxing on rainy days at anchor. Rich textured fabrics create just the right amount of richness to the space, with bleached Oak panelling and a clever use of ambient lighting adding another dimension of spaciousness to the salon. The grand 10 seating dining table is centred by a contemporary chandelier piece, no doubt to become a talking point during dining occasions.

Above on bridge deck is another spacious saloon. Slightly darker than the main salon below, this area is suited for late evening drinks after having had dinner on the aft bridge deck, which is easily reachable from here. A grand copper deckhead is accentuated by similar inserts along the custom furniture pieces and fabrics used for decoration.

Irimari houses her 12 guests in 6 uniquely appointed staterooms across two decks. Up forward on main deck is the full beam master suite, with oversized portholes on either side that floods the suite with natural light. The circular design patterns found in so many other guest areas are continued here, adding to the harmonious and tranquil atmosphere one experiences on board. A private study area on the starboard side is located outside the cabin as one enters, and also offers a set of life-size portholes to create the ultimate work station.

A full beam en suite area is placed forward of the accommodation area, and houses his and hers areas on either side, leading into an expansive bath area, lavishly decorated with unique masonry, wood and glass inserts to create a grandiose environment. A half beam VIP cabin is also situated on this level, once again decorated in a different colour scheme based around the custom works of art that can be found in each cabin.

The remaining 8 guests are accommodated below, in 2 twin and 2 double cabins. Focus Yacht Design went the extra mile in sourcing the custom art pieces and matching décor to add a distinctive to each guest cabin such as the felt wave-effect pieces found on the lower deck. Two of the en suite cabins are mutable into a single sleeping and entertainment area VIP cabin, where guests can enjoy the high-end entertainment system without disturbing their partner next door.

Unique Yacht Design from Antalya was drafted to develop the 63m platform’s naval architecture, and did so with true long distance cruising in mind; again setting the vessel apart from so many other yachts in this size range. Irimari's transoceanic range of 6000nm is made possible by two MTU M63 engines that has been combined with a cleverly designed efficient hull and low maintenance auxiliary equipment.

Sunrise Yachts have achieved in creating an industry-changing yacht that, without announcing its presence in every marina it visits, is sure to have an effect on future superyacht designs and projects. Irimari is fitted with the right amount future proof amenities to ensure easy maintenance by her crew, and ultimate enjoyment by her guests.


Sunrise Yachts

( http://www.sunriseyachts.com )

Lürssen Yachts 98mt Carinthia VII

When Heidi Horten, the widow of department store owner Helmut Horten, heard about Limitless she was apparently furious with Jon Bannenberg for creating a copy of ‘her yacht’. Clearly she needed to build something larger and finer. Returning to Lürssen, the Bremen shipyard that had built Carinthia VI for her late husband, she was permitted to peep at Tim Heywood’s preliminary drawing of the yacht that was to become Pelorus. Heywood had previously worked at the Bannenberg studio and been fully involved in the design of Limitless, but the Pelorus sketch showed a quite different style, with a bold, raised forebody and a sheerline that sweeps downwards towards the stern in what is termed ‘reverse sheer’.

Mrs Horten decided to follow this style and ordered a new yacht to be designed by Heywood and built by Lürssen. Crucially, its overall length had to be 98 metres – 2 metres longer than the hated Limitless. In the event, her order was quicker in build, so the new yacht, which she christened Carinthia VII, was launched in 2002, a year before the inspirational Pelorus.

Heywood used some clever visual tricks to achieve the incredibly powerful profile of Carinthia VII, the most obvious being that, viewed from a distance, the main deck appears to have no windows. In fact, with darkened glass and black frames, they are set back into what at first appears to be a continuous hull side and only become obvious close to. The deep blue hull colour, which the makers, Awlgrip, now market as ‘Carinthia Blue’, helps to create this trompe l’oeil effect. Aiming for a profile that was as clean and uncluttered as possible, Heywood replaced the usual stanchions and handrails with glass bulwarks set in slim steel frames that do not catch the eye. Some necessary technical features such as the bridge wings and air intakes became smoothly moulded bulges in the superstructure and assumed an almost feminine character.

Echoes of the earlier Carinthia remain, including the forward lean of the transom matching the outline of the stem. Another Bannenberg touch is the style line along the after part of the topsides at main deck level, formed by a large radius moulding. Forward-facing windows in the superstructure are shaded by the characteristic brow that looks like the peak of a cap.

Heywood’s design extended to the layout of the interior but not the décor, which is the work of several designers and Heidi Horten herself. As on her previous yacht, it is private and photographs have never been published.

Speed was clearly going to be an issue, and with four of the largest MTU diesels available, coupled through combining gearboxes to twin screws, a maximum of around 25 knots is possible. Whether or not she is faster than Limitless could only be decided by a race, which is never going to happen while both yachts remain with their original owners.

Lurssen Yachts

( www.luerssen-yachts.com )

Abeking & Rasmussen 81.8mt Dartwo

German yacht builder Abeking & Rasmussen has launched its 81.8-metre superyacht Dartwo.

Dartwo is the sistership to Kibo, the new Abeking & Rasmussen 81.8m superyacht launched in 2014. With interior and exterior by renowned yacht designer Terence Disdale, Kibo makes a mark for her deliberate lack of sensational design features, even forgoing the spa tub. “A yacht should have more in common with a beach house than a penthouse”, Disdale said in the October 2014. 

The steel-and-aluminium superyacht has been kept under a cloak of secrecy. Dartwo also features exterior design by Disdale, but it is unconfirmed whether he has also styled the interior and to such a simplistically elegant degree as her sistership. Like her sister, superyacht Dartwo has a gross tonnage of 2,300GRT and naval architecture by Abeking & Rasmussen.

While the builder has four yachts on the Global Order Book 2015, Dartwo is the only yacht planned to be launched by Abeking & Rasmussen this year. Project 6499, a 72 metre steel and aluminium yacht, is slated for delivery in 2016, as is the smaller project 6500 – a SWATH yacht that is also built in steel and aluminium and clocks in at 25 metres. The future Abeking & Rasmussen flagship, 98 metre hull No 6501, is slated for delivery in 2017.

At the Monaco Yacht Show, March & White debuted a new superyacht design for Abeking & Rasmussen. Designed in collaboration with the German builder, the 60 metre concept was playfully called Top Gun and featured two different bow options.

Abeking & Rasmussen

( www.abeking.com )

Feadship 83,50mt Savannah

Feadship has launched the 83.50 metre superyacht Savannah, previously known as project 686. The yard claims Savannah is the first superyacht to feature a combination single diesel engine, three gensets, batteries, propeller, azimuting thruster and a streamlined hull shape.

“It is not the individual technologies used on Savannah that are new in the yachting world – it is the way they have been combined,” says the owner’s project manager, Ted McCumber. “Feadship has leveraged on all the options available in the marine industry today to bring this hugely innovative system to completion.

“The possibility to choose between diesel, diesel-electric or fully electric is truly exceptional. Moreover, Savannah is the first yacht in the world to be running with an azipull and a variable pitch propeller. Only Feadship engineering and the rich experience of this yard could have successfully concluded a project of such scope and vision.”

The builder says the combination is extremely energy efficient, offering fuel economies of 30%. Further innovation can be found in the accommodation, in the form of a floating superstructure, an underwater lounge and open aft deck areas.

Inspired by the 2010 Feadship concept Breathe, Savannah is said to be a demonstration of a cost-effective and cleaner mode of propulsion for superyachts. Feadship has built Savannah with a dynamic hull shape and a very fine entry, giving a comfortable ride for passengers, quite apart from the fuel efficiency benefits. She uses one efficient medium-speed Wärtsilä main engine instead of two higher-rev diesels, with a single central propeller shaft installation on the centreline and three gensets.

Savannah boasts an exterior profile created in partnership between CG Design and Feadship’s designers that includes a ‘floating superstructure’. The glass and composite panels appear to float thanks to complex visual trickery involving polished stainless steel strips, aluminium supports and teak. The stainless steel doors form part of the yacht’s continuous line and also appear to be floating as part of what Feadship admits is a complicated design feature.

The aft owner and main deck areas have been designed as single open spaces, with sliding doors enclosing them from the elements but letting in plenty of natural light. With the doors open, the entire space from the swimming pool to the salon becomes al fresco experience.

“The owner of Savannah loves to be at one with the water,” explains McCumber. “This phenomenal design allows him to run from the main salon and dive straight into the sea.”

The exterior colour scheme of the superyacht is Sea Foam metallic green and Feadship says Savannahis the first superyacht to be entirely metallic painted, including the ceilings and fixed deck furniture, with the exception of the mast domes. Feadship developed a spray nozzle technique to attain the all-metallic look which had to be achieved in one sweep to avoid any colour discrepancy. The outside staircases are jet black and the steps covered in teak.

She is the second superyacht venture from the boards of CG Design and features an intricate level of detailing throughout, for instance lighting fixtures offering up to 10 different colours, lens types and positions.

The ‘underwater lounge’ at port side where guests can watch the fish outside or turn around and observe the fun and games in the nine-metre swimming pool. The room, which also converts into a cinema, is another first for a superyacht and features especially thick glass due to its position in the hull. The boat has a 12.5 metre or 41 foot beam and contains the owner’s suite and four large guest suites, as well as one VIP cabin with a balcony. Savannah will carry 26 crew members. She has a tender bay finished in teak with a hatch that doubles as a mooring platform. After docking, guests can walk inside the garage and take the stairs straight up to the main deck.

Feadship director Henk de Vries says, “More than a thousand people have been involved with the creation of Savannah since the contract was signed at the end of 2011. And the tremendous final result once again shows how Feadship is never afraid to venture into uncharted waters.”


Feadship

( www.feadship.nl )