Starboard - Issue 9

ON WATER

VOYAGES

FEATURES

Meeting… Partner Ship Design 032

Following in the footsteps of the studio’s founders, Timo Hogestraat and Stefan Seidenfaden take the helm at Partner Ship Design, building the business through refinement and refurbishment.

F&B at Sea 060

On a mission to change the perception of cruise cuisine, chefs, mixologists and F&B directors discuss the challenges and opportunities they face, revealing why the on-board dining experience is as important as the itinerary itself.

Destination by Design 064

Saudi Arabia gears up for an influx of tourists, developing new facilities on land and on water to establish a true destination.

© Courtesy of HKS / Red Sea Group

© Ivan Sarfatti

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Destination Dining

Whether on water, on land or in the air, the fundamentals of a favourable dining experience remain the same; good food, warm hospitality and well-designed environments. It’s a straightforward recipe for success that can be delivered in any setting, even from the cramped galley or narrow aisles. So why then, does the travel sector have such a bad reputation for its dining?

We’ve all been there: a sandwich that skimps on the filling or a pre-prepared meal that congeals before your very eyes. But times are changing; more and more operators are putting their money where their mouth is and investing in quality produce, elevated concepts and specialist talent to create experiences that are memorable for all the right reasons.

On water, there’s a host of new ventures that cater to the ever-changing desires of travellers. In much the same way that hotels on land have upped their game – putting an end to the long-held belief that eating out is better than eating in –cruise lines are on a mission to change perceptions too. Driven by heightened guest expectations, the impact of the pandemic and a commitment to preventing excess food waste, there’s been a conscious move away from the mass dining of the past, with cruise lines opting for multiple smaller venues serving a wider variety of cuisines. Not only does this bring greater choice for the guest, it generates opportunities for chefs to get creative too; after all, cooking for 20 is very different to cooking for 2,000. In turn, this has attracted more chefs to the water, taking the helm at specialty restaurants, serving as a curator for new concepts, or taking up residencies for one-off sailings.

Cruise lines large and small are increasingly introducing F&B programming too, combining on-board dining with talks and cooking classes, as well as shore excursions to local markets, vineyards and artisan makers.

Improving the quality of the dining experience isn’t only happening on water; airlines are raising their game to serve top fare in the skies too. In this issue of Starboard, there’s news of Air France’s year-long programme of rotating guest chefs, meaning frequent fliers can sample new dishes every time they travel, as well as Cathay Pacific’s partnership with a Hong Kong restaurant. Plus, in a bid to attract champagne connoisseurs, Emirates reveals that its cabin crew can now advise on pairings and tasting notes, providing an experience more akin to a fine-dining restaurant than a flight. There’s even plans to serve Michelin-starred cuisine in space as part of a luxury travel experience.

Meanwhile on land, Bentley Motors has launched a series of Extraordinary Journeys that take in private dining and chef meet-and-greets, while Belmond’s Royal Scotsman train has announced a themed gastronomic getaway hosted by renowned chef Tom Kitchin.

Given the increased demand for memorable and meaningful travel experiences, the focus on F&B across the sector is only set to grow, whether through partnerships and programming or design and development. What’s becoming increasingly clear is that such ventures are more than just an afterthought; they play a key role in influencing decision-making as to route, itinerary, and crucially, brand, further feeding into the notion that the journey is the destination. Welcome to the new issue of Starboard. I hope you enjoy the journey.

Catherine Martin • Managing Editor

ON THE COVER

MSC World Europa © Ivan Sarfatti

THE CREW

EDITORIAL

Editor-in-Chief

Matt Turner m.turner@mondiale.co.uk

Managing Editor

Catherine Martin c.martin@mondiale.co.uk

Deputy Editor

Ben Thomas b.thomas@mondiale.co.uk

Editorial Assistant

Cara Rogers c.rogers@mondiale.co.uk

F&B Contributor

Eleanor Howard e.howard@mondiale.co.uk

ADVERTISING

Business Development (FF&E)

Rob Hart r.hart@mondiale.co.uk

Business Development (FF&E)

Charlotte Gowing c.gowing@mondiale.co.uk

Business Development (OS&E)

Rachel Chadwick r.chadwick@mondiale.co.uk

DESIGN

Design Manager

David Bell d.bell@mondiale.co.uk

EVENTS & MARKETING

Commercial Lead Kirsty Studholme k.studholme@mondiale.co.uk

Events Co-ordinator

Olivia Mavers o.mavers@mondiale.co.uk

Content & Research

Ellie Foster e.foster@mondiale.co.uk

Data & Marketing

Lauren Blain l.blain@mondiale.co.uk

Subscriptions enquiry@sleeper.media

FINANCE

Finance Director

Amanda Giles a.giles@mondiale.co.uk

Group Financial Controller

Sarah Healey s.healey@mondiale.co.uk

Group Credit Controller

Lynette Levi l.levi@mondiale.co.uk

Accounts Assistant

Kerry Dolan k.dolan@mondiale.co.uk

CORPORATE Chairman

Damian Walsh

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Starboard Issue 9 • Published May 2023

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Meeting…

Maxime d’Angeac

Having been tasked with envisioning both a train and a sailing ship for Orient Express, the French architect discusses the change in pace from designing on land to designing on water.

Since day one, my approach has been to deliver more than just interior décor,” says French designer Maxime d’Angeac as he flicks through a series of sketches in his Paris office. Inspired by the architects of the early 20th century – who worked with specialists to design every aspect of a building, from the façade to the furniture – d’Angeac begins every project by pencil, hand-drawing his vision before refining it to great precision.

Immersing himself in his works like a painter in their landscape, the architect goes beyond the aesthetic, creating a dialogue between craftsmanship and materiality to tell a story. In the same vein as the masters before him, each commission sees d’Angeac assemble a team of craftspeople – upholsterers, cabinet-makers and stone-cutters – from his close circle of partners, with everything down to the door handles made to measure. And it’s this collaborative approach that caught the eye of Accor when talks were underway to open an Orient Express-branded hotel.

“It was a wonderful defeat,” says d’Angeac of his unsuccessful bid to design the debut property in Rome. Having presented his concept, the owners

decided to go in a different direction, but all was not lost; d’Angeac’s scheme eventually prompted Accor CEO Sébastien Bazin to pick up the phone with a new opportunity. “He knew I understood the vocabulary of Orient Express, so asked me to design the train.”

The train in question is a revival of the legendary Nostalgie-Istanbul-Orient-Express, which is expected to take to the tracks in 2025. With timelessness and traditional craftsmanship part of the brief, d’Angeac set about capturing the essence of the original carriages, recreating the atmosphere and spirit while ushering the train into the 21st century. “Those on board should not be able to tell if it was designed in 1925 or 2025,” he reveals. “We worked hard on the technicity, integrating modern features without making them visible.”

Inside the 18 carriages – three of which are being transformed into suites – is an anthology of the finest French crafts; think exquisitely crafted woodwork, goldsmithery and intricate marquetry. d’Angeac has also brought together elegant finishes that René Prou, René Lalique and Christofle – the decorators of the 1920s icon – would be proud of, from elm burr, mahogany and velvet to silk, bevelled mirror and

Words: Ben Thomas

crystal. “The entire project is conceived as a work of art,” he explains, though is quick to add that aesthetics weren’t the only consideration. “On a train, you must also consider details; the size of a room is less than two metres, so we had to draw everything down to the millimetre.” This precision extends to every piece of décor and furniture on board, from marble-covered tables and bronze columns to the domed skylights and all-glass counter in the Bar Car.

Having envisioned the design of the train – due to launch in 2025 – d’Angeac was also the first port of call for Accor’s latest venure as it heads for the seas. Marking the Orient Express brand’s entry into the ultra-luxury cruise market, Silenseas is a 220m-long sailing boat developed in partnership with shipyard Chantiers de l’Atlantique.

Taking cues from the Golden Age of travel, the designer’s scheme channels the glamour of the French Riviera, recalling a time when artists, sovereigns and movie stars would sail between Monte-Carlo, Saint-Tropez and Cannes. “The brief was to create spaces that align with the character of the Orient Express brand,” he confirms, describing the vessel as a palace on the sea. The main difference this time however is scale, with the designer granted the luxury of space in comparison to the compact train cabins. This is expected to inform the colour palette and material selection, as well as the overall ambiance. “It’s important to have two worlds on a ship; one that is light and airy, and another that cocoons the guest,” d’Angeac continues. “The trick is to design open social spaces and pockets of privacy.”

These pockets of privacy include 54 suites – averaging a generous 70m2 and culminating in the 1,415m2 Presidential Suite – where passengers can recline and take in the views. “Large windows were a must on Silenseas so that passengers experience a journey of discovery,” reveals d’Angeac. “We can help them dream through the changing panorama.”

Low ceilings and curving lines presented the same challenges that those working in ship design are accustomed to, but perhaps the greatest undertaking was the planning involved in every piece of furniture and every finish. “You

cannot miss in the cruise industry, the detail and precision is like no other,” d’Angeac admits. Such meticulousness has seen the architect once again sketching every element by hand, working within the parameters of the vessel to ensure everything has a purpose. “I hand-draw everything to understand how people will interact with objects,” he continues. “It’s more than just decoration.”

Indeed, in much the same way that Orient Express founder Georges Nagelmackers was fascinated by the social scene aboard transatlantic ships of the 19th century – their conviviality inspired the restaurants and lounges of his now legendary train – d’Angeac is pushing beyond the aesthetics, generating spaces that are memorable. “This isn’t a traditional journey; we’re not just taking guests from A to B,” he states. “It’s an experience.”

Celebrating the Art of Travel à la Orient Express, a stay on board taps in to the notion of slow travel, with guests able to enjoy spa treatments and meditation sessions at leisure, as well as cultural stopovers, dining and entertainment. “Slow travel means that guests don’t just put their luggage in the hold and collect it six hours later,” says d’Angeac, lamenting modern-day travel. “It’s an ever-evolving experience, in which people discover new things and have time to take them in, from literature and music to food and wellness.”

While guests can sail the seas at the same leisurely pace of 19th century travel, Chantiers de l’Atlantique is very much looking to the future in the construction of the vessel. Thanks to a revolutionary technological design known as Solid Sail, three rigid sails and three tilting masts will provide 100% of the propulsion in the right weather conditions. This formula will combine wind power with a state-of-the-art engine running on liquefied natural gas (LNG), with plans to use green hydrogen once the technology is approved.

Both the ship and train are currently under construction at their respective workshops, and though their design briefs were somewhat similar, the architect indicates that the main difference between working on the tracks and the tides, beyond the scale, is the number of companies involved in

“This isn’t a traditional journey; we’re not just taking guests from A to B. It’s an experience.”

Inside the Orient Express carriages is an anthology of French craftsmanship, from goldsmithery to woodwork to marquetry

the process. “For the train, there are 100 firms bringing their expertise and craft, whereas for the ship, everything is carried out internally,” he explains. “It’s completely different.”

Given his background however, d’Angeac is well-equipped to working in both scenarios; his collaborative approach to design means he has experience in guiding a team of artisans, while time spent on luxury residences has also seen him work more independently. “When I began my career, I worked on a number of projects that required precision; after that, I was prepared for anything,” he laughs. Such versatility stands d’Angeac in good stead for future Orient Express’ hotels too, with the architect revealing he has been in talks with Bazin and the team for potential collaborations.

In the meantime, his focus is on the brand’s debut vessel, writing a new chapter whilst paying homage to its timeless grandeur. And though the interiors are firmly under wraps for now, d’Angeac promises that they will strike the balance between past and present, offering

those on board the same feeling that the iconic train did when revolutionising the travel industry after its launch in 1883.

“We don’t want to have to refurbish things in five years’ time,” he notes, stressing the importance of using quality materials and craftsmanship to produce interiors that truly stand the test of time. “Architecture and decoration create a lot of waste, so it’s better to design for the long-term,” he continues. “We want to secure the future life of a structure so the challenge is to invent something that keeps on giving.”

On whether he himself will keep on giving to the luxury travel market, d’Angeac reveals that his move into the rail and marine sectors was down to the appeal of the Orient Express brand rather than a desire to expand to new sectors. “It’s not my ambition to design a tram or bus; my style is more haute couture,” he concludes.

“In my opinion, not everyone can design ultraluxury. It’s more than simply creating an image, it’s about telling a story.”

Orient Express Silenseas will follow the train’s lead, combining design details that channel the romance of travel

“Not everyone can design ultra-luxury. It’s more than simply creating an image; it’s about telling a story.”

© Martin Darzacq

Bricks & podiums capture the light in a remarkable way and give extra volume and lightness to the culinary creations.

Nacryl® a highly decorative patented material developed by Mealplak

Photo: Franck Hamel

MAIDEN VOYAGE ON WATER

MSC Euribia

Ahead of the official naming ceremony, MSC Cruises has unveiled full details of the sustainability features and amenities on board MSC Euribia.

Named after the ancient goddess Eurybia – who harnessed the winds and constellations to master the seas – the vessel is the second in the fleet to be powered by LNG, and the line’s most environmentally advanced ship to-date. With stateof-the-art technologies including advanced water treatment systems, waste management handling and energy-efficiency measures, MSC Euribia is designed to reduce potential impact on the marine environment. Even the hull, created by artist Alex Flämig, is on-brand, emblazoned with the message #SaveTheSea.

Inside, facilities include a total of 21 bars and lounges, five pools and a waterpark, as well as 10 dining venues, five of which are specialty restaurants. Guests will also have the opportunity to explore Galleria Euribia, the longest LED Dome at sea, with an array of shops and entertainment to discover.

On its launch, the ship will effectively demonstrate MSC’s commitment to building for the future. “We have long had a steadfast focus on sustainable and environmentally responsible business practices and on protecting guests, employees and the communities in which we operate,” comments Pierfrancesco Vago, Executive Chairman of the Cruise Division of MSC Group. “Today more than ever, brands like MSC Cruises recognise the vital importance of the environment and a healthy and viable planet. This is why we think it is important for us to take a leadership role and make our sustainability commitments a key element of our discourse with consumers and overall society. Sustainability at MSC Cruises is central to the brand’s DNA and the way we operate as a business.”

MSC CRUISES

Carnival Venezia

CARNIVAL CRUISE LINE

Carnival Cruise Line has unveiled new details for Carnival Venezia, which will operate year-round with a range of sailing options from New York.

Stepping on board the ship, guests will be greeted by Italian architectural design inside the atrium, which is modelled on Venice’s main public square, Piazza San Marco. From here, the Italian theme continues at Teatro Rosso, an elegant theatre that provides the backdrop for new entertainment and programming.

Amongst the F&B venues are signature Carnival restaurants such as steakhouse Fahrenheit 555, Bonsai Sushi & Teppanyaki and Chef’s Table. There’s also Frizzante, serving prosecco, spritzers and bellinis; and Gondola Lounge, inspired by the famous Venetian canals. In addition, many Carnival mainstays will offer Italian delights; gelato for example will be added to the menu at Java Blue Café.

EXPRESS CHECK-OUT

Route: Caribbean

Maiden Voyage: Summer 2023

Owner: Carnival Corporation

Operator: Carnival Cruise Line

Shipyard: Fincantieri www.carnival.com

Carnival Venezia’s outdoor spaces also feature Italian touches as well as some first-in-fleet facilities, with a lido deck inspired by the Italian Riviera and boasting a retractable roof, enabling use in colder months. On the top deck meanwhile, an adults-only area will feature sun beds, two whirlpools and a new bar.

Also new are the 77 Terrazza staterooms featuring interior balconies with aft-facing views, and the Terrazza Cabanas with private patios and hammocks.

“Carnival Fun Italian Style is a new take on our recipe for creating memorable Carnival cruises, but certainly, fun will still be at the heart of everything we do on board,” says President Christine Duffy. “Guests will feel right at home on Carnival Venezia, with our friendly team members and many familiar venues and experiences on board, as well as the addition of several creative new concepts – from dining and beverage to entertainment – that will offer some new favourites and further enhance the ship’s Italian theming.”

Sun Princess

PRINCESS CRUISE LINES

Princess Cruises has revealed further details of Sun Princess, its largest ship to-date accommodating up to 4,000 guests. Scheduled to debut in early 2024, the vessel’s highlights include a sprawling theatre and a three-storey dining venue – a first for the brand.

ON DECK

Route: Mediterranean

Maiden Voyage: 2024

Owner: Carnival Corporation

Operator: Princess Cruise Lines

Architecture: Tillberg Design of Sweden (TDoS)

Interior Design: Jeffrey Beers International (JBI)

Shipyard: Fincantieri www.princess.com

“With the construction of any new ship, we have the opportunity to design standout spaces with our guests’ preferences in mind,” says John Padgett, President of Princess Cruises. “With the new platform and size of Sun Princess, we’re able to refresh venues we know our guests love and expand upon, redesign and elevate them to the next level. We know our sun-inspired designs will exceed expectations and elevate the entire Princess experience.”

Stretching from decks 6-8, Horizons Dining Room is an open and flexible space that caters to various culinary needs. As such, its three levels will have their own personality, offering different levels of formality.

For The Piazza meanwhile, Jeffrey Beers International (JBI) has embraced Princess’ Italian heritage to create a next-generation piazza infused with light. Taking cues from the vibrant squares of Europe, the venue provides panoramic ocean views that will connect guests with their surroundings. JBI has also designed two other F&B spaces, namely Crooners – a Sinatra-era bar featuring warm tones and vintage-style interiors – and Crown Grill, a classic steakhouse woven with modern touches.

As for entertainment, the Princess Arena is the most technologically advanced theatre design within the group’s fleet. Upon entering, guests are drawn to a striking visual above the central stage, which accentuates the arena’s curved configuration and alludes to the movement of the tide. With moveable seats and capacity of over 1,000 people, three configurations can be used to maximise sight lines, with technological capabilities delivering a captivating experience.

Explora I

EXPLORA JOURNEYS

As Explora I prepares to set sail on its maiden voyage, Explora Journeys has unveiled the design of its Owner’s Residence, which extends over the full ship’s width and boasts a private outdoor veranda offering ocean views.

Spanning 280m2, the residence comprises a 155m2 suite area as well as the 125m2 terrace, complete with infinity whirlpool and a dining table for eight guests. As part of the package, guests are offered private butler services by the Residence Manager, together with unpacking and packing services, itinerary and transport planning, and private in-suite dining.

ON DECK

Route: Europe

Maiden Voyage: Summer 2023

Owner: MSC Group

Operator: Explora Journeys

Architecture: Martin Francis

Interior Design: SMC Design, AD Associates, De Jorio Luxury, Yacht Projects

Shipyard: Fincantieri www.explorajourneys.com

Luxury amenities include a bespoke kingsized bed sleep system, a telescope, fine bed linens from Frette, an extensive pillow selection and a Dyson Supersonic hairdryer. Guests will also have access to a Technogym Bench and Technogym Case Kit, a private bar replenished according to taste, and an in-suite welcome bottle of Dom Pérignon Vintage 2013.

“Every aspect of the design of our Owner’s Residence reflects the meticulous curation of all details. We have partnered with renowned brands to provide an unparalleled experience,” says Jason Gelineau, Head of Product at Explora Journeys. “Sofas and chairs are by brands like Knoll and Molteni & C, outdoor furniture is from Manutti, sophisticated lighting solutions are designed by Astep, and the double vanity bathroom is crafted from precious Calacatta marble. All these details create an elegant yet effortlessly relaxed European sense of luxury.” In total, Explora Journeys has committed to a fleet of up to six ships, two of which are under construction, set to be launched between 2023 and 2028. Offering distinct culinary experiences, twelve bars and lounges, four swimming pools, extensive outdoor decks, wellness facilities and refined entertainment, the group aims to offer a new style of transformative travel billed as ‘Ocean State of Mind’.

SMART WINDOW COVERING SOLUTIONS

Forest Group offers a variety of drapery hardware solutions specifically designed for cruise ships and liners. Whether you choose our motorised curtain tracks or rods, roller blinds or roman blinds, your guests will experience ‘the Forest Factor’ – a unique combination of smooth-hanging curtains, luxurious comfort, and optimal ease of use.

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Meeting… Partner Ship Design

It’s often the shiny newbuilds that capture the attention of cruise passengers and press, but as the sector evolves, refurbishments are enjoying their moment in the spotlight too – for very good reason. Not only does a soft upgrade keep pace with rising guest expectations, it is cost effective and sustainable too – ideal for a time when spend is under constant scrutiny and recycle-andreuse takes precedence over demolition.

For Partner Ship Design, refurbishment projects have always been part of the business, though are becoming increasingly important, not only to the growth of the firm, but to the continued success of the cruise industry as a whole. “Since the pandemic, there’s not as much cash flow, so owners are looking for ways to elevate their vessels without having to invest in a newbuild,” explains Timo Hogestraat, a Junior Partner at the firm. “As a result, we’re getting a lot of requests for refurbishments.”

As ships return to service and passenger numbers surpass pre-pandemic levels, cruise lines are naturally considering the next steps for their fleets. “There are many vessels that are still in very good sailing condition, but the interiors have aged over the past 15-20 years,” notes Stefan Seidenfaden, also a Junior Partner, pointing out that technology may be outdated or soft furnishings show signs of wear-and-tear.

The company has sound experience in shipbuilding and design, recently celebrating 30 years from its headquarters in Hamburg, where the studio has a waterfront seat to sailings of the Alster. Partner Ship Design was founded in 1991 by Kai

Bunge and Siegfried Schindler, who have led on a variety of projects over the past three decades, taking on every class from yacht to megaship, developing entirely new concepts and executing comprehensive refurbishments. Bunge and Schindler have built a solid portfolio and an enviable client base, and have been savvy in future-proofing their business for years to come. In 2017, the duo appointed Hogestraat and Seidenfaden – along with Silke Förster – as Junior Partners, the aim being to ensure the continuation of the Partner Ship Design name as they gradually step back from the day-to-day running of the business. Both Hogestraat and Seidenfaden have a long history with the company, rising through the ranks to one day take the helm. “I started at the company in 1993 as an intern, working during term breaks to gain experience,” reveals Seidenfaden. “In 1996, I had the opportunity to join the company as an interior designer, and then became team leader and then project manager.”

Hogestraat has followed a similar route, joining the firm in 2007 and progressing to Junior Partner. “Mr Bunge and Mr Schindler asked if we would like to join the board and eventually take over, which we’re happy to do,” he explains, adding that it’s an ongoing process. “We will take over step by step. It’s good to have the founders by our side as it means we can learn about parts of the business that we are not yet familiar with.”

In all, Partner Ship Design employs 35 interior designers, and though each has their own area of expertise, the leadership team believe there’s value in an all-encompassing

Following in the footsteps of the studio’s founders, Timo Hogestraat and Stefan Seidenfaden take the helm at Partner Ship Design, building the business through refinement and refurbishment.

Words: Catherine Martin

Partner Ship Design led the refurbishment of Hanse Explorer in 2021, elevating the interiors through new furnishings and finishes approach. “We don’t want to separate technical from general arrangement for example; it’s important that designers have an overview of all the different steps of a project,” Seidenfaden notes. “Of course, everyone has their specialisms, but by working in this way, we can elevate our designs.”

Indeed, this way of thinking has resulted in a full-service solution that ranges from space planning to interior design and specification, taking in optimisation of the floorplate, passenger flow and allocation of guest and crew zones, as well as signage and wayfinding to visual identity and drawing up distinctive ship profiles. “We can develop a complete package from scratch, so that an owner can then take it to any shipyard,” Seidenfaden confirms, pointing out that the studio’s comprehensive offer results in a straightforward build process and only minor adjustments. “We know where to plan the air-conditioning and illumination; we know exactly what we want to achieve and how to achieve it,” Hogestraat picks up. “This is what we are known for. We can plan where the staircases go as well as the technical elements so that when it comes to building, the shipyard isn’t telling us that it doesn’t work.”

As the name suggests, Partner Ship Design continue to work in close partnership with the owner and shipyard, right up to delivery of the completed vessel. This approach has been key to the growth of the firm, so much so that there are several longstanding clients on the books. A case in point is Sea Cloud Cruises; the relationship began in 1991 with the design and out-fitting of Sea Cloud, a historic four-masted barque that channels the Golden Age of sailing. Then came the design of Sea Cloud II, and more recently, Partner Ship Design has completed the development and design of Sea Cloud Spirit, featuring 69 cabins, two dining experiences and extensive outdoor deck space.

Aida Cruises is another such example of a long-running partnership, one that has endured multiple changes of ownership and now sits in the Carnival Corporation portfolio. “In my first

year at Partner Ship Design, we won our first Aida vessel,” Seidenfaden explains, referencing the beginning of the journey, which began with Aida Cara in 1996. “As Aida grew, so did Partner Ship Design; they went hand-in-hand. It’s nice because everybody knows exactly how to work with each other and how to communicate to achieve the best possible result.”

Their latest collaboration is in Aida Cosma, sister ship to Aida Nova, for which Partner Ship Design developed the Helios Class platform to devise a flexible floorplan. The unique arrangement of passenger areas has also served as a template for other vessels amongst Carnival brands, including P&O Iona and Arvia, Mardi Gras, Carnival Celebration and Jubilee, Costa Smeralda and Toscana.

Though Hogestraat and Seidenfaden continue to work on newbuilds, refurbishments are currently making up a notable proportion of

projects on the boards. As the duo discussed earlier in the conversation, refurbishments have become an increasingly effective way to elevate the passenger experience, without the costly investment of a newbuild. These projects still present challenges however. “What we have found is that requests are coming in at short notice,” states Hogestraat. “It’s often a lastminute decision so we have to step-up and in some cases, deliver within weeks.”

Fortunately, the firm has a vast library of resources they can tap into when it comes to the upgrade of flooring, wallcoverings and soft furnishings. “For materials we are very well prepared,” Hogestraat confirms. “Every product we have in-house is IMO-certificated or has the necessary certification for cruise ship design.” The specification of furniture can be a challenge however, particularly if it’s made bespoke. “The lead time is a challenge as we have to find products that are comfortable yet also meet our design scheme and fit the measurements,” Hogestraat continues. “If a product is out of lead time, then we have to find an alternative.”

Carpets and curtains upgrades are amongst the most-requested of late, and there’s a trend for larger TVs with casting features so that guests can stream content from their own device. Bathroom refurbishments or the conversion of cabins to suites require a greater investment, and with any change to the cabin, cost is a major challenge. “You have to keep in mind the size of the vessel,” Seidenfaden points out. “Even if you do something that costs an extra €20, when it’s multiplied by 1,800 or 2,000 cabins, it adds up.”

The team go on to stress the importance of open communication between all parties, particularly when working to such a tight timeframe – a factor that is surely aided by their close relationship with clients. In ensuring a refurb is effective, some clients share feedback from guests, while others grant access to a sailing to witness first-hand the spaces that aren’t reaching their potential. “When we have the opportunity to get on board, we can

“Owners are looking for ways to elevate their vessels without having to invest in a newbuild; As a result, we’re getting a lot of requests for refurbishments.”

TIMO HOGESTRAAT

see how guests behave – what they like, what they don’t like – and we take this with us to the new design,” Seidenfaden explains. As a result, the designer has witnessed changes to dining preferences, with a notable move away from the buffet, which has been accelerated by the pandemic. He explains: “Guests are increasingly looking for quality, so there’s an opportunity in the future to design more speciality restaurants.”

Whether designing a restaurant or a stateroom, Partner Ship Design often look to nature for inspiration, pointing out that patterns in the sand could translate to a carpet motif, for instance. The team are also influenced by their own travels, and the hotels, restaurants and bars they experience on land. “We incorporate a selection of ideas to create a new design,” says Seidenfaden. “We take the inspiration and elevate it.”

Elevating the look and feel of a vessel is very much at the heart of the Partner Ship Design philosophy, with Hogestraat and Seidenfaden

adept at working within the guidelines of a brand while creating a fresh identity. The project portfolio spans a variety of genres, from the 1930s aesthetic of Sea Cloud to the Scandi style of Aida – not to mention the more playful aspects of Carnival’s big ships. The duo is conscious that they don’t become known for a signature aesthetic, as Seidenfaden notes: “We are not tied to a particular design style; our style is to create the ideal atmosphere for passengers of the particular brand we are working for.” And Hogestraat confirms: “We listen to the owner and help define their vision, whatever the style. This is our competence.”

While Hogestraat and Seidenfaden remain tight-lipped on current projects, they’re optimistic about the future, both for the wider cruise sector and for Partner Ship Design, concluding: “There are challenges to face, but we are focused on the future, ensuring that we continue to build on the foundations that Partner Ship Design has established over the past 32 years.”

“When we have the opportunity to get on board, we can see how guests behave – what they like, what they don’t like – and we take this with us to the new design.”

STEFAN SEIDENFADEN

Smoked Quartz Crystal & Alabaster Bedside Lamp // Galaxy Yacht // © Jack Hardy // northern-lights.co.uk

MSC World Europa

MSC CRUISES

MSC Cruises’ first World Class ship is its boldest newbuild to-date, breaking the mould in design, sustainability and size.

At 333m long, 22 decks high and carrying up to 6,762 guests, MSC World Europa is one of the largest cruise ships in the world. Its scale is impressive, as is the line-up of amenities on board, but for most, it’s the striking architectural centrepiece in the form of a dry slide that first captures attention. The longest at sea spanning 11 decks, The Spiral twists and turns, its sleek stainless-steel curves becoming a work of art as well as a fun way to get from the top of the ship to the promenade.

Debuted in November 2022 after four years in the making, MSC Cruises’ first LNG-powered vessel was built by the line’s long-time partner Chantiers de l’Atlantique, with London-based Francis Design retained to work alongside the in-house newbuild team, and AD Associates tasked with designing some of the F&B venues.

Despite its gargantuan size, World Europa cuts an elegant silhouette thanks to its futuristic wave body, signature plumb bow and never-seen-before Y-shape aft. Housed within, is 40,000m2 of public space, meaning passengers are well distributed across the restaurants, bars, lounges and entertainment attractions. So how do you make a ship of this size flow? “On Europa, our aim was to create clusters of activities for likeminded people to enjoy in one area; this helps disperse passengers,” explains Trevor Young, Vice President of New Builds at MSC Cruises. “We brought activities such as the waterpark, arcade and kids clubs together, so you have this amazing destination for families.”

Indeed, one of World Europa’s ‘clusters’ is the boardwalkstyle World Promenade, lined with restaurants, bars and

retail. It is the landing point for the slide and has allowed for the introduction of 196 Promenade Balcony cabins across seven decks. “When you build a ship of this size and volume, you end up with a lot of inside space,” Young continues. “By opening up the aft, the inside cabins become balcony cabins and are therefore more appealing.”

The 104m-long World Promenade, half-open to the sky and half-covered by an imposing LED-sky screen, was masterminded by Martin Francis, founder of Francis Design and a tour de force of ship design. “It was a stroke of genius,” says Young, crediting the designer for thinking outside the box. “Martin came up with this design of eight LED palm trees, bringing a whole new dynamic to the area as a music and light show.”

Lining the promenade and spread across the ship, MSC World Europa has a total of 20 bars and lounges, and 13 dining venues, each with its own distinct style and ambiance. Taking the lead at eight of the venues, London-based AD Associates was tasked with creating an elegant champagne bar, a mixology cocktail lounge and Mediterranean fish restaurant La Pescaderia, where a brief of ‘Mykonos meets the Hamptons’ influenced the interiors.

One of the new venues introduced on World Europa is the charming Raj Polo Tea House, which successfully emulates a colonial-era tea house with muted shades of fawn and cream, mahogany fans spinning from panelled ceilings and a world map depicting the journey of tea. It’s a soothing antidote to the ship’s more adventurous experiences. In creating the concept, Young explains: “We looked at the origins of tea and

Words: Kerry Spencer • Photography: © Ivan Sarfatti

took inspiration from the colonial past in Sri Lanka’s mountains. We had a lot of discussion with our food and beverage teams and worked with a tea master who came in and advised us.”

More than a place to grab a quick drink, the venue has an “edu-tainment aspect” too. “People want to learn,” says Jacques Van Staden, Vice President of Food & Beverage, MSC Cruises. “Each new concept aims to go beyond what traditional venues achieved in the past and focus on crafted, artisanal and immersive experiences that will revolutionise the place dining holds in the overall cruise experience.”

At the Chef’s Kitchen Garden – opened in partnership with Swedish chef Niklas Ekstedt – a living wall not only creates a verdant backdrop, but serves as a growing area for hydroponic microgreens harvested for use in the restaurant. This ethos is echoed at the familiar Masters of the Sea signature British pub too. Here, a new stainless-steel micro-brewery takes centre stage, producing craft ales in full view of patrons.

One of the new talking points on World Europa is a hidden speakeasy; a first for the

cruise industry, it’s a triumph for MSC Cruises. The entrance, concealed behind a lipstick-red British phone booth, requires a code to gain access. The fun continues with guests then entering a usually off-limits crew staircase to reach the venue. “From a newbuild point of view, the speakeasy was a huge challenge because every element, from the access to the design, had to be in keeping with the concept,” explains Young. But it was worth it, the venue is everything a speakeasy should be. There’s a sense of being underground, it’s intimate and dimly lit; the walls are clad in shamrockgreen metro tiles and there’s an eclectic mix of furniture that is mostly reconditioned.

Another exclusive area on World Europa is the line’s successful ship-within-a-ship, MSC Yacht Club. To elevate the luxury experience on World Europa meant adding more space, with a whopping 1,700m2 of outdoor areas, including a two-storey sun deck and al fresco lounge The Lanai. There are also two top-tier Owners Suites, each measuring 150m2. These

plush suites feature walk-in wardrobes, fullsize imperial bathtubs and living-dining areas with floor-to-ceiling windows. On the balcony, there’s an outdoor dining area and a whirlpool hot tub. “Understated elegance is what you feel when you’re in there. It’s a very calming and comfortable place to be,” says Young. The finer details, artworks, installations and the sweeping Swarovski-crystal staircases, are down to Rafaela Aponte, the wife of MSC Group founder Gianluigi Aponte. “Madame Aponte spends a lot of time in the space before the ship launches to make sure everything is just right,” adds Young.

Creating flashes of design flair is not an easy feat on a ship of this size. From the seven pools, including the tranquil adult-only Zen pool, to the new multifunctional Luna Park Arena, World Europa succeeds in making excellent use of a larger, more sustainable vessel.

MSC Cruises has a further three World Class vessels lined up for delivery through 2027. The next, MSC World America, is slated for 2024.

ON DECK

Route: Western Mediterranean

Maiden Voyage: November 2022

Owner: MSC Group

Operator: MSC Cruises

Interior Design: MSC Cruises in-house team, Francis Design, AD Associates

Shipyard: Chantiers de l’Atlantique www.msccruises.co.uk

29-30 Nov 2023 ExCeL London

CSI Design Expo Europe caters exclusively to the European cruise interior design industry.

The boutique event provides a gateway for the cruise interiors supply chain to meet with Europe’s most esteemed cruise lines, designers, and shipyards working on major refurbishment and newbuild projects.

Taking place 29 - 30 November 2023 at London’s ExCeL, the highly focused exhibition and conference allows you to connect with key decision-makers and build valuable new relationships within the industry.

250 exhibitors | Expertly curated Conference Programme | Exclusive Networking & social events | Product launches | Workshops

Visit our website

The Haven Norwegian Prima

NORWEGIAN CRUISE LINE

For its largest on-water commission to-date, Lissoni & Partners creates a ship-within-a-ship on board Norwegian Prima.

When Norwegian Cruise Line announced plans to construct its next generation cruise ship, it promised a host of innovative designs to further elevate the guest experience. Five years on, the brand has undoubtedly delivered on that promise, launching a shipwithin-a-ship concept featuring private amenities, dedicated services and the most luxurious accommodations on board.

Known as The Haven, the enclave has been part of the cruise line’s offer for over a decade, but for Norwegian Prima – the first of four Prima-Class vessels on order from Fincantieri – it was decided that a fresh approach was needed. Being a newbuild, this was an opportunity for NCL to rethink every aspect of the concept, from the floorplate and passenger flow to the design and detailing. The first major change came in the relocation of all 107 Haven Suites to the aft, within closer proximity of private elevators, while public areas were repositioned so that, for the first time, every venue has sea views.

For the interiors, Norwegian Cruise Line looked to the hotel industry for inspiration, selecting Lissoni & Partners to bring its signature style to the ship. Founded by Piero Lissoni, the Milan-based studio is multi-disciplinary in its approach, taking on architecture, interiors, landscaping and product design, with projects spanning commercial, retail, residential and hospitality. As well as designing for the likes of Shangri-La, Oberoi Hotels & Resorts and The House

Words: Catherine Martin • Photography: © Francesco Caredda

Collective, Lissoni & Partners has a growing number of yachts in its portfolio; The Haven on Norwegian Prima however, marks the largest on-water commission todate. “We already had experience in the nautical sector, but this is our first project for a cruise ship of this size,” Lissoni explains. “Working with NCL, we sought to intrigue and surprise the guests, transforming them from passive spectators to active participants through modern design, timeless art references and unexpected combinations of materials, all within the context of interesting and intuitive circulatory pathways.”

Spanning eight decks, The Haven comprises a spacious lounge, a restaurant and two bars as well as expansive outdoor spaces. Newly expanded for Norwegian Prima, The Haven Sundeck features an infinity pool overlooking the ship’s wake and a spa with glass-walled sauna and cold room. Accessible only by keycard, such facilities are for the exclusive use of those staying in The Haven Suites, which range from the 34m2 Penthouse to the 195m2 Premier Owner’s Suite. All have a king-size bed, luxury bathroom and private balcony, while the larger suites come with their own hot tub and separate living and dining areas.

Showcasing Lissoni’s signature sense of simplicity and elegance, the design scheme is a notable change of pace from the vibrant accessible-to-all spaces on Norwegian Prima. “The Haven is an exclusive area, so the approach to the aesthetics was different to the rest of the ship,” explains Lissoni. “We developed a tailor-made space focused on the human experience, inspiring and intriguing the guest with a multifarious sequence of discoveries.”

Describing The Haven as a refuge, Lissoni reveals that he looked to his residential projects for inspiration, creating “intimate and accommodating

environments” that feel comfortable and homely. With particular attention to proportion and harmony, spaces are enveloped in linear panelling, which serves to add height while drawing the eye to the floor-toceiling windows. The colour scheme is natural and earthy, with the occasional pop of colour seen in artworks or upholstery. “The meticulous selection of materials and finishes bring warmth to the interiors,” Lissoni explains, adding that there are references to French decorative styles that harmonise with more contemporary elements. “The wood inlays for the headboards are inspired by Art Deco furniture and are placed together with bespoke loose furniture,” he continues. “The restaurant is characterised by backlit volumes in ribbed glass and large lanterns that further enhance the charm, while green is an important presence in conveying a relaxed atmosphere.” The green appears as a soft sage in wallcoverings, upholstery and bed throws, and it comes alive as a winter garden in the lounge, fostering a connection to the natural world.

Much like other land-based designers that have ventured into cruise, the challenge for Lissoni was in the scale of the spaces. He concludes: “The most challenging, but also the most intriguing element, was to work in a world of proportions that is completely different to a classic residential or hotel project.”

Despite this, Lissoni has succeeded in creating a fresh identity for The Haven, which will also feature on the forthcoming sister ship, due to set sail in summer 2023. And judging by the opening week of sales – in which Prima became the brand’s most indemand vessel ever, with 20% of bookings for The Haven Suites – the project has been a triumph for Norwegian Cruise Line too.

ON DECK

Owner: Norwegian Cruise

Line Holdings

Operator: Norwegian Cruise Line

Interior Design: Lissoni & Partners

Lighting Design: We Are Light

Shipyard: Fincantieri www.ncl.com

The Haven showcases Lissoni’s signature sense of simplicity and elegance through a meticulous selection of materials and finishes

Arvia

P&O CRUISES

P&O Cruises sets sail with the second of its Excellence class ships, featuring newly designed dining destinations that help differentiate from its predecessor.

Named after the Latin term meaning ‘from the seashore’, Arvia is the ultimate lesson in using design to differentiate. As the second ship in P&O’s Excellence class, the vessel is a near-identical build to Iona – at 345m in length with 16 guest decks – and with shipyards standing firm on limiting architectural changes between sister ships, the design team was faced with the all-toowell-known challenge of making it look and feel unique.

“Arvia, as the latest evolution in the P&O Cruises experience, embodies the newest trends in travel, dining and entertainment and is the epitome of a sunshine resort sailing year-round to the warmest climates,” explains Paul Ludlow, President at P&O Cruises. “It takes its sister ship Iona’s design aesthetic and general arrangement but provides new and exciting outside and inside spaces which make the most of Arvia’s deployment to the Caribbean and the Mediterranean.”

Led by Alison Clixby, Director of Hotel Design & Projects at P&O Cruises, these new spaces are the work of a multinational design team comprising Jestico + Whiles and Richmond International, both from the UK, and German firm Partner Ship Design. Speaking to P&O’s design brief, Clixby says: “It was important that our design cues were informed and inspired by P&O Cruises’ rich and proud nautical heritage, but Arvia is a ‘sunshine ship’, so we wanted to create spaces that are sympathetic to her warm climate deployment versus Iona’s. The brief was to bring the outside in and celebrate the sea and the shoreline.”

Words: Ayesha Khan

Photography: © Mark Bolton (unless otherwise stated)

At the all-American 6th Street Diner, bold, neon art and the requisite chequered floor takes centre stage alongside a working jukebox

Jestico + Whiles followed this directive to a tee in their design of Arvia’s atrium space, where Associate Director Jennifer de Vere-Hopkins admits the changes were not as drastic as one might think, yet made all the difference: “Although it is architecturally the same space, once you swap out some of the key materials, change the light fittings and transition the carpet from cool to warmer tones, the whole space starts to feel different.” Take for example the sweeping, sculptural staircase in Arvia’s atrium, which is repeated from Iona, but given a new treatment here. Glimmering metal forms created in collaboration with Haberdashery line the stair and the edge of the upper deck, their appearance recalling a silken scarf billowing in the sea breeze. Overhead, the chandelier is also a point of difference; although P&O agreed to depart from the classic chandelier mainstay for Iona, they decided to bring it back for Arvia. Jestico + Whiles collaborated with Preciosa to design an imposing arrangement of 396 trumpet-shaped pendants that change colour as the atrium transitions from a seaside retreat by day to a dazzling hang-out by night, where gravity-defying aerialists provide the entertainment.

While Iona’s palette is anchored by the deep tones of Emerald Bar, the same venue on Arvia – known as Amber Lounge – is informed by the warmer hues of the gemstone for which it is named. “Arvia dips into richer tones with the warmth of wood and brass alongside shades of amber and rust,” de Vere-Hopkins explains, citing the differences between the two ships.

Dining concepts too have evolved, with Arvia moving away from the more formal main dining room aboard previous ships. “P&O weren’t quite ready to throw away the starched tablecloths on Iona, but Arvia targets a younger market, so there was an opportunity to explore different offerings,” de VereHopkins recalls.

In total there are over 30 F&B venues on board, including contemporary Indian restaurant Sindhu and Iona favourite Keel & Cow. There’s also a live music lounge called The 710 Club, Anderson’s Bar with its own distillery and a menu of craft rums and gins, and a new swim-up bar serving specialty cocktails.

Perhaps one of the most vibrant spaces on board is the all-American 6th Street Diner – newly launched for Arvia – where bold, neon art and the requisite

chequered floor takes centre stage alongside a working jukebox. “This space needed to feel casual, yet still smart enough to dine there on formal nights,” says de Vere-Hopkins. “We added layers of detail to make it feel upscale without losing the fun.”

For Mediterranean eatery The Olive Grove, P&O rallied off the success of the concept on Iona and turned it into a fully-fledged dining room, articulated by terracotta arches, beams, and, true to its name, an array of indoor vegetation. Meanwhile, a completely new concept for P&O is Green & Co feat. Mizuhana, a fish- and plantbased sushi bar brought to life by Partner Ship Design, who introduced a spectrum of vibrant colours grounded by warm walnut and custom designed stingray-like light fixtures. “The interiors are inspired by a Caribbean coral reef,” explains Timo Hogestraat, a Junior Partner at the firm. “It is bright and airy due to the large windows, and we added coloured glass to maintain a sense of transparency.”

Topping off the design changes of Arvia is the re-imagined Sky Dome, which now features a slick retractable roof to accommodate the warmer climes experienced on the Mediterranean and Caribbean routes. By day, the venue is a relaxed poolside environment, that, in the words of Clixby, “brings guests even closer to the sea, sky and shore”, and by night, it seamlessly transitions into an entertainment space. “The brief for the Sky Dome focused on the entertainment aspect so we were asked to create a dynamic festival stage with a ‘crown’ that elegantly supports the sound and lighting equipment,” says Hogestraat. “Furthering this spirit, the surrounding bar and restaurant outlets follow the same distinctive treatment.”

Although architecturally identical to Iona, Arvia is a prime example of how to vary design and programming to create a unique guest experience. So much so, that guests who had been on board both ships were surprised to learn that they were sisters.

ON DECK

Route: Mediterranean, Caribbean

Maiden Voyage: December 2022

Owner: Carnival Corporation

Operator: P&O Cruises

Interior Design: Jestico + Whiles, Richmond International, Partner Ship Design

Shipyard: Meyer Werft www.pocruises.com

© Christopher Ison

SH Vega

SWAN HELLENIC

Following the launch of SH Minerva, Swan Hellenic unveils its second ship, where elegant Scandi-design establishes a new direction for the growing fleet.

Good news for adventurous travellers with a taste for bucket-list luxury – the expedition sector is currently undergoing a resurgence, and today’s ships are poles apart from the no-frills versions of the not-so-distant past.

With contemporary styling and all the creature comforts of a luxury resort on land, Swan Hellenic’s second polarclass ship has been designed to make sailing to lessertrodden destinations such as the Arctic and Antarctica both an immersive and indulgent experience.

The cruise line knew it was onto a good thing on completion of its inaugural vessel SH Minerva, so much so that it ordered a carbon copy in sister ship SH Vega, a noise-free sustainability superstar with features including dynamic positioning technology that ensures it remains stable without having to drop anchor into fragile seabeds.

With interiors by Tillberg Design of Sweden, the ship fuses its adventurous spirit with practicality and a genuine homefrom-home ambience; guests can expect a main dining room serving regional and international cuisine, an Observation Lounge as the hub of the ship, a sauna with a view and two spacious basecamps, where guests can gear up for excursions on the Zodiacs or kayaks.

Swan Hellenic CEO Andrea Zito believes that SH Vega bears all the hallmarks of the Swan Hellenic expedition experience, utilising an open-plan layout, panoramic windows and extensive outside deck areas to provide “an immersive, seamless experience of the spectacular natural landscapes”.

Words: Rebecca Barnes • Photography: Courtesy of Swan Hellenic

Yes, the blueprint is the same, and so are the design elements, from the light and breezy Scandi styling using premium, natural materials to the holographic fireplaces in every stateroom, and of course, the many spaces for guests to observe the show happening outside – including the distinctive Swan’s Nest, a frontline 180-degree viewing platform at the ship’s bow. But just how straightforward was it to hit refresh and reinvent a cruise line with a backstory to consider?

It all began in the 1950s when British travel agency Swan’s Tours organised a voyage that sailed to Greece’s historical sites, with 128 university society members and three guest lecturers on board for the ride. Then marketed as a ‘brand for the thinking person’, the USP was that the same itinerary was never repeated twice; guests were taken to places that, at the time, were undiscovered by even intrepid travellers. 70 years later and under new ownership, the reinvention of Swan Hellenic sees the group continue to honour its roots,

while taking a more premium direction in the design and fit-out of its new ships.

“Our design team and the Swan Hellenic executives wanted to define the design language in a single phrase – we call it Nordic elegance,” shares IIna Forsblom, Partner and Cruise Design Director at Tillberg Design of Sweden. “It is a feeling rather than a theme, and guided us in creating the restaurants and lounges, the welcoming cabins and suites. The ship is your home away from home after an exhilarating day of exploring so it was important to create spaces that were elegant yet comfortable,” she continues. “The onboard service, the food and beverage offering and the amenities were all added with the same vision in mind.”

While Zito does not care for the word luxury, believing it isn’t always authentic, there’s no denying that attention to detail is a hallmark of the design. This infiltrates from inside –with many wins including those mesmerising fireplaces warming up the ambience in each stateroom – to outside, where cutting-edge

Interiors by Tillberg Design of Sweden showcase Scandi styling through the use of premium, natural materials

heaters have been installed to keep guests cosy while they dine al fresco or take a dip in the infinity pool.

“When Swan Hellenic approached us to assist with an outdoor heating solution for the open decks of their new expedition ships, we engaged with Tillberg Design of Sweden and Cruise Quality Consult of Germany to sustainably integrate the Bromic Platinum Smart-Heat Electric Marine Heaters and ensure radiant heat is directed to where it is most needed,” explains Daniel Bruntsch, Global Head of Marine at Bromic Heating. “We worked closely with designers, consultants and shipyard engineers to create a bespoke outdoor setting where guests can spend hours dining, lounging by the pool, enjoying incredible views and observing wildlife while staying comfortable and warm.”

Despite the vessel’s small footprint, there is a feeling of light and space across the ship, which Forsblom believes is a real highlight. “Having a staircase from deck 3 to deck 8 allowed us to create something special,” she says. “The

contemporary structure filters daylight from above, and in the evening, the geometric feature wall is lit indirectly, creating a sense of space.”

With large balconies, separate sleeping and lounging areas and more storage than many city centre apartments, the sense of space becomes even more apparent when spending time inside the generously proportioned staterooms and suites. Forsblom explains some of the key features of their design: “All materials are soft to the touch and there are several layers of adjustable lighting, so the atmosphere is pleasant from morning to night. There’s also ample storage and power outlets to accommodate the cameras, laptops and personal devices that guests bring on board.”

So does Forsblom feel that Tillberg Design succeeded in meeting the brief? “This was an exciting project for our team,” she concludes. “We created a design with the goal that it would be contemporary and long-lasting, adaptable and well-functioning, and become the signature look of the Swan Hellenic fleet.”

ON DECK

Route: Arctic

Maiden Voyage: July 2022

Owner / Operator: Swan Hellenic

Interior Design: Tillberg Design of Sweden

Shipyard: Helsinki Shipyard www.swanhellenic.com

F&B at Sea

On a mission to change the perception of cruise cuisine, chefs, mixologists and F&B directors discuss the challenges and opportunities they face, revealing why the on-board dining experience is as important as the itinerary itself.

Cruising typically gets a bad rap when it comes to on-board dining, with lengthy queues and questionable quality amongst the concerns of prospective travellers. Though often unsubstantiated, this perception is rapidly changing, as cruise lines large and small embark on partnerships and programming that seek to elevate the experience. Some have recruited star chefs to create specialty restaurants, while others are collaborating with drinks brands to distil their own spirits, catering to a growing audience who consider the F&B experience to be as important as the itinerary itself.

Focus on the sub-sector has intensified over the past 12 months, partly due to changing consumer preferences in the wake of the pandemic, and partly due to the launch of a new event that specifically targets cruise F&B professionals. Taking place in April alongside Seatrade Cruise Global, the immersive two-day event – aptly named F&B@Sea –was an opportunity to network, sample the latest product launches and hear from those at the forefront of concept development, procurement and operations. A curated lineup of sponsors and exhibitors – including Campari Group, Pernod Ricard and Remy Cointreau – joined live cooking demonstrations and cocktail masterclasses, while special features included the Bacardi Speakeasy and Sundown Soirée networking reception.

Throughout the event, a series of on-stage talks addressed challenges such as sustainability, responsible sourcing and authentic dining options, and there was plenty of food for thought in discussions around new concepts and creating a memorable experience through cuisine. In the opening keynote, Cornelius Gallagher Jr, Vice President of Food &

Beverage Operations at Celebrity Cruises, spoke of the cruise line’s mission to change perceptions of on-board dining. “One of the brand pillars at Celebrity Cruises is culinary –that’s where we invest most of our capital, not only in the quality of the product but also the quality of our talent,” he explained. “There’s a preconceived notion that food on board is all about volume, so a big part of what we do is try to change people’s perceptions. We locally source where it makes sense, and we make investments in where we think the food and beverage industry is going, so when we design our ships, specifically the restaurant concepts, we design for the future.”

Wes Cort, Vice President of Food & Beverage Operations at Norwegian Cruise Line Holdings, also spoke of the misconceptions of dining at sea, pointing out that the logistics of cruising – with some ships spending several days at sea – mean that the galley can’t always rely on a constant supply of fresh provisions. “The general impression is that there’s an abundance of food but the quality is questioned,” he explained. “We don’t get credit for the fact that we make everything from scratch, a lot of land-based restaurants don’t even offer that.”

With the measure of success the same at sea as on land – good food, warm hospitality and beautifully designed environments – cruise lines have been actively developing new concepts to increase the variety of dining options available. There’s also been a rise in the number of specialty restaurants on board; the large-scale dining rooms that serve inclusive meal plans still have a place on big ships, but for guests wanting to splash out, smaller venues are an opportunity to sample a different cuisine. Such ventures are also an opportunity for chefs to be creative in ways that just

Words: Catherine Martin

aren’t possible with mass catering. “Making a dish for ten people is very different to making a dish for 2,000 people,” stated Jacques Van Staden, Vice President of Global Food & Beverage at MSC Cruises. “Complimentary dining is about finding the best possible product at the best possible price. When it comes to specialty dining, you can fine-tune to elevate the experience and make it more interactive.”

Elevating the experience takes many forms, whether it be the interior design of the restaurant or the sourcing of premium produce. For Silversea, it’s about storytelling, with the SALT programme – standing for Sea And Land Taste – conceived as an exploration of food culture at a ship’s ports of call. Taking to the stage at F&B@Sea, Adam Sachs, a food writer and Director of SALT, recounted tales of the cooking classes, local market visits and tastings that form part of the experience, revealing how such shore excursions inform the on-board cuisine too, with menus changing daily to reflect the location of the ship. “Every new place we sail to has a new experience,” he explained, noting that many of the excursions spotlight a culinary creative with a story to tell. “When you meet the maker, you get a sense of their culture and passion; it enriches the experience and stays with you,” Sachs continued, adding that “the food tastes better when you know the story behind it”.

Provenance expands to other areas of the dining programme too, and was a recurring topic for leaders on stage at F&B@Sea. Cruise lines commonly develop restaurant concepts based on the regions in which they sail – an Italy-bound ship for example, will likely feature a pizzeria, trattoria or gelateria – but for a truly authentic experience, chefs are sourcing ingredients from the country in question too. In the keynote, Gallagher of Celebrity Cruises, said: “We source produce wherever our ships sail. In the Mediterranean, that means fresh fish and locally-grown tomatoes – it’s an effective way of bringing the destination on board.”

Indeed, local sourcing brings added authenticity to the table, and though Gallagher

pointed out that this can only happen “where it makes sense” – if both the price and quality is right – it seems that such practices increasingly do make sense, particularly as businesses are being held accountable for their environmental and social policies. Speaking on a panel exploring recent changes in the supply chain, Michelle Solorzano, Vice President of Food & Beverage Supply Chain Management at Norwegian Cruise Line, stated: “We’re all trying to buy more local products; this reduces our carbon footprint as we’re shipping less and also helps support local communities.”

Responsible sourcing is top of the agenda too, as cruise passengers become ever more demanding in knowing where their food is coming from and how the resources are being protected. In a session featuring cruise line executives and specialist advisors, talk turned to the challenges and opportunities in sustainability certification. James Wells, Global Chief Supply Chain Officer at Royal Caribbean Group, revealed that he is looking to forge partnerships with suppliers who invest in sustainability initiatives, while John

Mulvaney, Director of Culinary Operations at Holland America Line, spoke about the rigorous process to achieving certification for its sustainable and traceable Alaskan seafood. Despite the challenges, the benefits are clear, not only to the planet but to the cruise line too. “One of the stats that stands out is that over 50% of consumers are more likely to purchase a product that has an eco-label,” explained Nicole Condon, US Program Director at the Marine Steward Council, referencing the group’s 2022 consumer insight survey. “They are prepared to pay more for seafood from a certified sustainable fishery, they’re more likely to trust it, and as a result, they are more likely to be loyal to your brand.”

Doing better for the environment is a key topic across the F&B sector, beginning with responsible sourcing through to recycling and waste. Having considered buffets to be hugely wasteful, Virgin Voyages was the first major cruise line to say goodbye to the buffet altogether, instead opting for a greater choice of smaller à la carte restaurants. It also banned single-use plastics and, after examining disposables commonly found on ships, developed a reusable tiffin box system for room service items.

Speaking at F&B@Sea, Charles Steadman, Director of Food & Beverage at Virgin Voyages, revealed that, since the debut of Scarlet Lady, he has been busy refining the on-board concepts to meet changing guest expectations. And he’s not the only one. Natural wine bars, low and no alcohol options, and eatertainment venues are amongst the experiences teased by chefs and F&B directors, all eager to tantalise the taste buds of passengers and keep them coming back for more. Ultimately, such concepts are about creating a memorable guest experience. Perhaps it was Rob Floyd, a mixologist and liquid chef working with Princess Cruises, who said it best. “We’re not selling a product, we’re creating a reaction,” he stated. “People can get a drink or have something to eat anywhere, but if they have a reaction to an experience, they’ll capture it, remember it and share it.”

“There’s a preconceived notion that food on board is all about volume, so a big part of what we do is try to change people’s perceptions.”

CORNELIUS GALLAGHER JR, CELEBRITY CRUISES

Destination by Design

Saudi Arabia gears up for an influx of tourists, developing new facilities on land and on water to establish a true destination.

Words: Catherine Martin • Renderings: Courtesy of HKS / Red Sea Group (unless otherwise stated)

The scale, volume and architectural finesse of hospitality projects on the boards across Saudi Arabia is quite simply astounding. Rosewood, Four Seasons and Chedi are amongst the luxury operators signed up to plant flags within the sprawling mixed-use developments taking shape, while designers are flexing their creative muscles to make their mark on the changing landscape.

Once a mysterious desert nation only accessible to pilgrims, the Kingdom is now the fastest-growing travel and tourism market in the Middle East, hoping to attract 100 million visitors annually by 2030 as it diversifies its economy. Accommodation, dining and retail facilities are being planned to cater to this influx, as well as new leisure and entertainment attractions to add to the natural wonders and cultural heritage sites that have only recently been opened to public viewing. And the nation isn’t only focusing on land-based growth; as part of Saudi 2030, plans are in place to scale the on-water market too. In 2021, Cruise Saudi was officially launched to develop the infrastructure and services required to support a thriving cruise sector, with state-of-the-art terminals and the creation of shore excursions part of the plan. The aim is to transform the country’s coastline into a premier global cruise destination, welcoming an anticipated 1.3 million passenger visits by

2035. It is a goal that will only be achieved through tie-ins with premium brands, and Cruise Saudi has made a significant step towards this in a recently announced partnership with Aman. The joint venture will see the hotel group take to the water with a first-of-its-kind luxury motor yacht known under the working title of Project Sama. Due to set sail in 2025, the 183m vessel will feature 50 spacious suites as well as multiple dining options, a spa and a beach club, all envisioned by Sinot Yacht Architecture & Design. Speaking at the launch, Fawaz Farooqui, Managing Director of Cruise Saudi, commented: “The signing of this partnership adds a new layer to Cruise Saudi’s offering and is a testament to the unique tourism experience that is exploring Saudi by sea, as well as demonstrating Cruise Saudi’s commitment to growing and expanding the cruise industry in Saudi.”

Along the coast from Cruise Saudi’s designated port destinations, Sindalah – a group of islands within the Neom development – is set to include a yacht club and 86-berth marina with hopes of driving nautical tourism. Amaala meanwhile has declared itself a sailing hub, catering specifically to the yacht market. Along with 3,000 hotel rooms, high-end retail, fine dining and wellness facilities being developed, the ultra-luxury tourist destination – one of the flagship projects from Red Sea Global – will also get its very own yacht club to serve the region’s growing number of sailors. “Yachting has not historically been as popular across the Middle East as in Europe and the US, however this is rapidly changing,” explains Richard

Haws, Amaala’s Marine Director. He explains that, according to market insight, the regional yacht market is growing by 5-10% year-onyear, a surge that can in part be attributed to an increased desire for personal space and privacy, particularly in a post-Covid world. “Feeding into this growing trend, the facilities offered at Triple Bay Yacht Club aim to set the standard for luxury yachting in the region, supporting the nascent luxury yacht fleet and ushering in the capacity to activate and sustain a new age of yachting in the Red Sea,” Haws continues. “It is our role not just to create a venue with attractive facilities, but to encourage ongoing investment in yachting with a thriving ecosystem of activities to support the industry.”

Such facilities include a 120-berth marina for yachts up to 130m in length, as well as a unique porte cochère for discreet arrival by tender and an 80m quai d’honneur for hosting events. The centrepiece is a striking yacht club designed by HKS, who looked to the rock formations of the coastline to inform a free-flowing structure that serves as a meeting point between land and sea. The architecture sees cantilevered terraces on the upper levels flanking a central archway that frames views of the sea and rises to form a shaded plaza beneath. A smooth all-white exterior references traditional Arabic style, while interiors feature a palette of natural and locally sourced materials such as stone, timber and leather.

The range of spaces available to guests has been carefully considered too, taking into account the lifestyles of the yachting elite as they

travel. As well as a terrace restaurant, infinity pool deck and rooftop cabana lounge, there’s multi-functional events spaces and private offices. “With yacht owners often combining work with leisure and using their yachts as a business tool, it’s incredibly important that we provide on-shore support as well as a dynamic environment for boat shows, concerts and regattas,” Haws explains, pointing out that local members will be able to host everything from conference calls to gala dinners.

Red Sea Global has been sure to cater to both the domestic and international market in the development of Triple Bay, with the yacht club cultivating a sense of community for locals, not to mention the ripple effect of job creation and a positive impact on the regional economy. “Our fundamental aim is to create an environment that facilitates leisure, recreation and business opportunities within the Kingdom,” Haws continues. “Expanding beyond the local market, our ultimate ambition is to establish the Red Sea as a global yachting hub, with Amaala at its source.”

Having taken a lead on defining the Triple Bay Yacht Club experience, Haws emphasises the value of land-based venues in helping attract travellers to the region. “The destination is as important as the journey,” he concludes. “As a visitor or home port, staying in a safe and attractive harbour environment, supported by a community of hospitality, retail and leisure outlets is a key factor in yachting. This is what separates a mere marina from a true destination.”

“With yacht owners often combining work with leisure and using their yachts as a business tool, it’s incredibly important that we provide on-shore support as well as a dynamic environment for boat shows, concerts and regattas.”

RICHARD HAWS, AMAALA

Triple Bay Yacht Club (top) at Amaala aims to set the standard for luxury yachting in the region, while Cruise Saudi has signed a joint venture with Aman to launch a luxury yacht (bottom)

This year’s Cruise Ship Interiors Design Expo Americas (CSI) is returning with a new name as well as revamped formats and features, making it a must-attend event for the cruise interiors sector. Industry leaders will unite at Miami Beach Convention Center on 6-7 June for two days of networking, with personalised tours, workshops and insightful conference sessions all part of the programme.

The event will also be a launchpad for the new visual identity, which sees an updated logo envisioned by Volume Creative, a leading branding agency and interior designers of Virgin Voyages’ Scarlet Lady. The concept is aimed at capturing the vibrant spirit of the cruise ship interiors community, while the inclusion of ‘Design’ and ‘Americas’ in the name better reflects the audience the show serves.

Packing out the show floor will be more than 250 exhibitors – 100 of which are brand new for 2023. These include some of the most forwardthinking and innovative industry players who are ready to meet with key decision-makers from esteemed cruise lines, design firms and shipyards. Exhibitors will cover all areas of cruise design and range from design studios and outfitters to interior suppliers. Furthermore, the show will provide a valuable platform for landbased suppliers eager to break into the growing cruise market. Exhibitors include the likes of SMC Design, Somec Group, De Wave Group and Molteni & C, as well as MJM Marine, The Deluxe

Group, Bolidt, Akula Living and Mapei Marine. CSI will also host representatives from some of the world’s largest cruise lines including Royal Caribbean, Carnival Cruise Line, Norwegian Cruise Line and Virgin Voyages.

Throughout the course of the event, there will be plenty of opportunities to meet with specifiers and suppliers to harness valuable business relationships for the future. In addition to Speed Networking sessions and Happy Hour drinks, the show kicks off with an opening party to remember, a Beats & Brunch on the show floor, and the CSI After-Hours party in a secret Miami location.

The expertly curated conference and workshop programme, Conversations@CSI, will be the place to learn about the latest trends and hear industry leaders discuss important topics such as innovation, the changing face of interiors and project delivery challenges.

For thrill-seekers, there’s an opportunity to battle it out at a laser tag experience hosted by Delta Strike and Creative Works, while those looking for a more leisurely pursuit can marvel at the artistry of Saint Cyr Art Studio as they undertake live mural painting.

CSI will be co-located with Hotel & Resort Design South, a new event dedicated to resorts and private island destinations (more overleaf). Both events are free to attend with registration via the website.

www.cruiseshipinteriors-expo.com

Built of harmony

Secto Design is known for its wooden lamps that create a cosy atmosphere and elevate their surroundings. The Kontro 6000 pendant lamp is a new interpretation of the chandelier. The openness of the design spreads light widely. Design by architect Seppo Koho.

www.sectodesign.fi

Making its debut in June, Hotel & Resort Design South (HRDS) is a brand-new product-sourcing and networking show launched to connect architects, designers and the global supply chain with resort operators and private island destinations from across the South and Latin America markets. The inaugural two-day event – which celebrates the distinct design styles of the vibrant regions – is located within Cruise Ship Interiors Design Expo Americas (CSI), providing the community with a dedicated space to connect with over 200 cross-sector suppliers.

One of the most exciting features of the HRDS line-up is the exclusive Product Showcase. Stepping away from the traditional trade show format, the gallery-style display of plinths will feature hand-selected luxury products, giving exhibitors the chance to showcase their wares to specifiers. Products from more than 40 companies will be on display, including Akula Living, Brintons Carpets, Nanni USA, Interfloor and Molteni & C.

The launch has been met with enthusiasm from the industry, with backing from the likes of Douglas Grieco, Senior Director of Design for LATAM at Hilton; Adrien Ganassin, Director of Operations at Marriott International; Francesca Bucci, Founder at BG Studio; and Kimberly Jackson, Managing Director at AvroKO; all of whom sit on the Advisory Board.

Given the close synergy between the hotel and cruise sectors, HRDS’ co-location with CSI is

the perfect fit for visitors and exhibitors alike, particularly now that hotel groups are entering the cruise market. Ritz-Carlton launched its first ship, Evrima, in 2022, and Aman, Accor and Four Seasons have all announced they will take to the water in the coming years.

While gaining insight and connections from their cruise counterparts, HRDS visitors will also benefit from the show’s very own features including a day of networking and a day of tailored design content through an engaging conference programme. This will be led by luminaries in the hospitality design industry, who will delve into topics surrounding culture and locality, eco-tourism, conversions and procurement processes. The programme will also focus on how the industry deals with challenges, and the latest developments in areas such as sustainability, flexible workspaces and accessibility. These sessions will leave attendees feeling inspired, up-to-date on the latest trends and provide them with a holistic view of the state of the region’s resort interiors industry. Finally, there will be a host of exclusive networking opportunities over the two days including the official opening party kicking off the event, a Happy Hour drinks reception, Beats & Brunch on the show floor and Speed Networking for one-to-one meetings.

Both HRDS and CSI are free to attend with registration via the website.

www.hotelresortdesign-south.com

Explore Endless possibilities

Imagine a smooth project. One with endless possibilities. Your ideas custom-made. Tailored to your wishes. Collaborative through the entire project.

We did just that for Virgin Voyages’ Resilient Lady. From the drawing table to the finished product – and beyond. With that we created and collaborated on the Hooded Daybed, Virgin’s take

on the popular strandkorb. From sketch provided by their architect – until the finished product in a sea-proof, red epoxy coated mesh aluminum. Ready to set sail!

Want to explore your options and our endless possibilities in custom-made furniture?

Visit www.robos.nl

Marine Interiors

6-8 September 2023

HAMBURG

Following its launch in 2019, Marine Interiors will make its return in September, bringing an expo, conference programme and networking opportunities to Hamburg Messe.

Powered by SMM and co-located with Seatrade Europe, the three-day event is curated to offer inspiring solutions for the design and fit-out of passenger ships – be it cruise ships, river boats, ferries or yachts.

The expo is set to showcase products from a spectrum of suppliers, ranging from fabrics, floorcoverings and furniture to restaurant and bar equipment, lighting and technology. As well as a stand space, each will have the opportunity to launch their latest innovations in quickfire 10-minute presentations taking place throughout the show.

Running concurrently, the conference programme will address the challenges and opportunities facing the sector, examining regulatory frameworks and exploring how design can contribute to brand value. Amongst the line-up are leaders from SMC Design, Steen

Friis Design, WDC Creative and Tillberg Design of Sweden, who will discuss the processes involved in delivering high-performance interiors that successfully contribute to the guest experience. There will also be a session on the refurbishment market, led by Timo Hogestraat and Stefan Seidenfaden, Junior Partners at Partner Ship Design, and a look at new innovations in ship and yacht design. Completing the programme, the after-hours ‘wine o’ clock’ networking reception invites visitors and exhibitors to mingle over drinks and music.

Decision-makers from leading cruise and ferry lines are expected to attend, along with shipyards, interior design studios and procurement specialists. In all, 2,800 industry experts visited the 2019 edition, including senior-level representatives from Fincantieri, Meyer Werft, MSC Cruises and Royal Caribbean, as well as A-Rosa, Joi-Design, AD Associates and P&O Ferries.

www.marineinteriors-expo.com

© Nicolas Maack

MAIDEN VOYAGE ON LAND

Kinetic Kingdoms

Berlin-based design studio Ulises masters the art of AI to visualise a multi-decker caravan for the future of travel.

Artificial intelligence has become a hot topic in the creative world over the last 12 months, with architects and designers increasingly integrating the software into their processes, using it to streamline concept development or take clients on virtual walk-throughs, before construction even breaks ground.

For Ricardo Orts, founder of Berlin-based design studio Ulises, AI software – specifically Midjourney – has facilitated the crafting of “near-future architectures, poetic atmospheres and refined art direction” with eye-catching results.

Combining creative innovation and cutting-edge technology, the studio has produced a series of images that aim to spark the imagination. Entitled Kinetic Kingdoms, the concept explores new ways of living for nomadic communities, with a collection of multi-decker caravans providing both accommodation and transportation.

Pictured against a desert landscape, the AIgenerated vehicles elevate the traditional caravan aesthetic, with their tower-like configurations channelling a Retro-futuristic style that is both playful and functional. Inside, the vehicles are kitted out with bedrooms, bathrooms, a living room and kitchen, as well as a roof terrace for taking in the views – everything required for a life on the road, giving nomads the freedom to discover new cultures whilst being at one with nature.

In a world where climate change and environmental degradation are ever-present concerns, could projects like Kinetic Kingdoms be a solution for the next generation of travellers? Orts believes so: “By embracing a more nomadic lifestyle, we can explore new ways of living that are both exciting and sustainable, all while fostering a sense of community and connection with the world around us.”

Extraordinary Journeys

Bentley Motors launches new travel experiences taking in sustainable luxury hotels and the finest seasonal cuisine.

Car manufacturers are well on their way to becoming fully-fledged lifestyle brands, delivering experiences that go beyond the driving seat. Hyundai, for instance, has launched the world’s first car-powered hotel, while Audi released a prototype for an autonomous vehicle that doubles as a living space, and Rolls Royce unveiled an exclusive model designed for days out and al fresco dining.

Bentley Motors is also venturing beyond its origins, having announced plans to open branded residences on Miami’s Sunny Isles Beach in 2026. But before cutting the ribbon on its residential debut, the group is accelerating its customer experience strategy with Extraordinary Journeys – a carefully curated calendar of once-in-alifetime road trips that take in architecture and design, hotels and restaurants.

The exclusive travel series is set to cover the UK, New Mexico and Scandinavia upon its launch, while further destinations are to be announced throughout 2023. Each Extraordinary Journey will see guests drive a Bentley of their choice, travelling through a variety of scenic landscapes with overnight stays in luxury accommodation. And after a long day on the road, an F&B

programme comprising seasonal, locally sourced produce will help them refuel.

Hotel take-overs, private dining experiences and spa treatments are also part of the offer, as well as exclusive access to celebrated chefs and creatives. During the Scandinavian trip, for example, travellers have the opportunity to spend time with leaders at Bjarke Ingels Group – the pioneering architects behind Lego House –before exploring the Copenhagen landmarks that contribute to Denmark’s status as World Capital of Architecture for 2023.

“We want to share an extraordinary journey of discovery with our customers and fans, offering access to typically private and exclusive experiences that only Bentley can provide,” says Caren Jochner, Global Head of Brand Experience. “We have worked closely with like-minded partners that share our passion for excellence, whether it be in the field of cuisine, design, architecture or wellness – all with sustainability at heart. This, coupled with our carefully curated driving experiences, provides guests with something truly unique that gives them the opportunity to connect with like-minded souls. It’s an experience money alone can’t buy.”

© James Lipman

Reinventing the RV

Airstream partners with Studio FA Porsche to design an innovative travel trailer for a new generation of outdoor enthusiasts.

Having made its first appearance on US highways back in the 1920s, the Airstream has long been known for its distinctive shape and polished aluminium coachwork. Few changes have been made to the now-iconic model over the past century, however a new concept developed in partnership with Studio FA Porsche could pave the way for the future.

Addressing the changing needs of the RV traveller to target the next generation of outdoor enthusiasts, the prototype draws on signature elements from both brands and incorporates new features within a sleek profile. Amongst the innovations, versatile seating quickly transforms for dining, working or relaxation, while the rear comprises a two-piece design with hinge-up hatch and drop-down tailgate, serving to extend the living area. A pop-up roof and skylight also add a spacious feel, and extensive windows connect inhabitants with their surroundings.

“Our design team has long wanted to partner with Airstream,” says Roland Heiler, Managing

Director of Studio FA Porsche and Chief Design Officer at Porsche Lifestyle Group. “For me, Airstream has always been an iconic brand that has thrived by evolving its products while remaining true to its design DNA – an approach very similar to the philosophy of Studio FA Porsche. So, it’s not difficult to imagine that we were more than excited when the idea to develop a new iteration of Airstream’s travel trailers finally became reality.”

Bob Wheeler, President and CEO of Airstream, adds: ““While our concept projects don’t always reach the marketplace, the resulting lessons and innovations often influence present and future designs as they make their way into our main product lines. Our collaboration with Studio FA Porsche brought talented new eyes and minds to our never-ending process of improving the Airstream experience. It’s a fresh design approach aimed at reaching a broader, more diverse base of potential customers. Innovation is the art of discovering the possible.”

Scotland in Motion

Belmond announces a new spa and suites for journeys aboard the Royal Scotsman.

With holidaymakers increasingly looking for getaways that go beyond the typical fly-and-flop, train travel is undergoing a revival, attracting guests with ever-more luxurious interiors. For Belmond – which was acquired by LVMH in 2019 – luxury is undoubtedly key to the offer, along with one-of-a-kind experiences that are designed to make lasting memories.

With that in mind, the hospitality group has announced a partnership with Dior Beauty –another of LVMH’s brands – to open a spa on board the Royal Scotsman. The train, which travels through the rugged landscapes of the Scottish Highlands, features an entire carriage dedicated to wellness, with two lacquered treatment rooms restyled with Dior’s iconic burgundy Toile de Jouy motif. In homage to Christian Dior’s love for Scotland – where he hosted his much-acclaimed fashion show in 1955 – the wellbeing menu offers three tailor-made treatments inspired by country’s natural beauty, each designed to leave guests feeling refreshed.

Belmond has also revealed that it will add new suites to the Royal Scotsman in 2024. Designed by Tristan Auer to mirror the look and feel of a luxury country house, the Grand Suites will feature references to Scottish culture and the surrounding landscape, deploying hues of green, grey and blue in the handcrafted wallcoverings, upholstery and furniture. Local materials like stone and wood will be used throughout, while decorative patterns are set to echo Edwardian flair, Pictish stones motifs and Celtic symbolism. There’s even a bespoke tartan designed by Araminta Campbell to depict the train’s most famous journeys.

Completing the experience, the Royal Scotsman has also added two new themed journeys to its roster: the Highland Survival Adventure developed in collaboration with adventure travel experts Wildnis, and A Taste of Scotland with Michelin-starred chef Tom Kitchin, providing a gastronomic experience that guides guests through the country’s finest flavours.

© Pierre Mouton for Parfums Christian Dior

InterContinental Khao Yai Resort

THAILAND

Bill Bensley recalls the romance of train travel in Thailand’s Pak Chong district, which served as a transportation gateway during King Rama V’s reign.

Ihave always been a lover of trains, it’s a fetish of mine,” reveals architect and designer Bill Bensley. “I’ve taken all sorts of train journeys; I even had a summer job taking groups of ladies coast-to-coast across Canada on a train.” Fast forward a few decades to more recent times when Bensley was travelling on the highway in his adopted home of Thailand, and noticed rusting train carriages seemingly abandoned in a yard. “That was when the idea struck me –how cool would it be to upcycle these carriages?” he recalls. Having previously worked with the Managing Director of Elysian Hotel Management on Rosewood Luang Prabang, Bensley once more approached his friend Rena Udomkunnatum, on this occasion with the concept of a train-inspired hotel. Soon, they set about envisioning the destination and collecting the rare items that would be needed to evoke the adventure of train travel in a 19-hectare site on the edge of Khao Yai National Park. “You would think the unused carriages would just be sitting there but actually no, within Thai society, they are very coveted and cost a lot more than they are really worth,” says Bensley of their search to source sufficient numbers of the cars. “So we had to navigate the Old Boys Train Club, if you will, at public auctions; it was a real scavenger hunt across Thailand.”

Words: Neena Dhillon

Photography: Courtesy of InterContinental Khao Yai Resort

Poirot Bar is characterised by memorabilia relating to the famed detective, while suites take inspiration from the voyages to destinations after which they are named

While Bensley’s design studio is renowned in the hotel world for its fantastical creations, the destination of Khao Yai provided a historical hook from which to spin the more imaginative elements of the resort’s backstory. Setting the scene is Pak Chong Railway Station, which, under King Rama V’s reign, was part of a thriving transport system connecting to northeast Thailand. At the hands of the Bensley team, the destination has become a natural extension of that network, with the fictional character of Somsak, a conductor, the main protagonist. He is the one who has searched far and wide to collect the memorabilia, signage, maps and machinery that weave their way around the resort, not least in the Station Master’s House – which serves as the reception – and the 19 upcycled Heritage Railcar Suites that form part of the 64-key hotel’s accommodation.

“For the interiors to work on a train, you need a practical use for every single square-inch of space,” Bensley says of the challenge of transforming 2.5-metre wide carriages into luxury suites. “Knowing the ceilings were already head-bangingly low, we ran the air-conditioning through the undercarriage,

bringing the vents through the floor. I was tempted to purchase antique Burmese handcarved wooden ducts as they were so beautiful, but it wouldn’t have worked because most of our guests are much taller than the average Burmese of 1910.”

While the sophisticated façades are painted in historically accurate hues, interiors vary wildly from one carriage to the next, taking inspiration from the voyages to destinations after which they are named; various regions of Thailand are represented, as well as the nearby countries of Cambodia, Laos, Malaysia, Myanmar and Singapore. Rich wood pannelling, cleverly carved to mimic train windows, is complemented by patterned and scenic wallpapers –backlit to evoke natural landscapes – and even lining the ceilings. Jim Thompson silks are another recurring feature, seen across soft furnishings in rainbow shades that speak of Southeast Asia’s tropics, temples and terrains. In the same vein, the headboards of the lowlying beds call to mind the architectural language of provinces and states such as Hua Hin, Sukhothai and Uthai Thani or capitals further afield including Phnom Penh and Yangon. Given that space-saving was key,

storage comes in the form of high-level luggage racks – like those on a functioning train – while velvet and leather banquettes curve around compartments, each custom-made to fit.

Artefacts, ceramics and paintings are carefully arranged to build up the thematic interiors, with striated marbles and tiles in bathrooms reflecting the chosen colour combinations. Of course, the Bensley team can always be relied upon to pay attention to detail, so each of the railcars announces its themed destination on a brass plaque fixed to the façade.

The exteriors throw up more surprises. “As you know, the British were very influential in India and Burma, and while less so in Thailand, they still brought with them a tradition of tents and campaign furniture,” explains Bensley as he describes the concept for the spacious terraces outside each suite. “They made-do with what they had, stopping for the night, erecting a tent, filling up a portable bath and breaking out the gin-and-tonic. While InterContinental Khao Yai is head-and-shoulders above this level of

comfort, the roots of the external design spring from the same soil.” Canopied, some with plunge pools, but all with outdoor bathtubs, the terraces are equipped with day loungers from which to enjoy the vistas.

Carriages not only accommodate guests but three of the F&B experiences too, including the Tea Carriage with its tiled tabletops, overlooking the lake. Papillon Bar is an intimate space seductively lit at night, while neighbouring Poirot serves French cuisine in a sophisticated environment characterised by memorabilia relating to the famed detective. Elsewhere in the hotel, artefacts, posters, vintage trunks and station machinery – lots sourced from antiques fairs – remind visitors of railroad adventures. There are even tracks built into the site, which may well spring into use soon, with plans for a hand-pumped maintenance car to become operational to transport guests from reception to their suites. So what would the King have made of it all? “Rama V would have loved it,” concludes Bensley.

ON DECK

Owner: Elysian Hotel Management

Operator: IHG Hotels & Resorts

Interior Design: Bensley www.ihg.com

Le Monumental Palace by Maison Albar Hotels Architecture: Oitoemponto jjteixeira.pt geral@jjteixeira.pt

MAIDEN VOYAGE IN THE AIR

Building Another World

NASA funds development of lunar construction technologies to accommodate living on the Moon.

As NASA considers the next steps in human exploration of the Moon, new advancements are required to meet the unique challenges of living and working on another planetary body. As such, the space agency has awarded Icon – a leader in large-scale 3D-printing – a contract to develop construction technologies that could help build infrastructure on the lunar surface.

“To change the space exploration paradigm from there-and-back-again to there-to-stay, we’re going to need robust, resilient and broadly capable systems that can use the local resources of the Moon and other planetary bodies,” explains Jason Ballard, Icon’s co-founder and CEO.

In making this a reality, Icon will work with lunar regolith samples (dust, soil and broken rock) brought back from Apollo missions to determine their mechanical behaviour and suitability as a building material. The findings will inform future construction approaches and help establish the infrastructure necessary for a sustainable lunar economy, from landing pads and roads to accommodation for habitation.

The venture is a continuation of Icon’s existing projects with NASA, including the 3D-printed Mars Dune Alpha – a simulated Martian habitat designed by Bjarke Ingels Group, which will be used to support long-duration space missions. “We’re pleased that our research and engineering to-date has demonstrated that such systems are indeed possible, and we look forward to now making that possibility a reality,” Ballard concludes. “The final deliverable of this contract will be humanity’s first construction on another world, and that is going to be a pretty special achievement.”

Art de Vivre

Having designed hotels, restaurants, luxury fashion houses and private residences, French architect Joseph Dirand is now turning his hand to spacecraft, collaborating with Zephalto –a leader in luxury space travel – to create the interiors of Céleste.

Due to launch in 2024, the concept is the brainchild of Vincent Farret d’Astiès, an aerospace engineer who hopes to offer low-carbon experiential voyages on board a stratospheric balloon. Thought to be the first of its kind from Europe, flights will depart from France and climb to an altitude of 25km, where travellers can take in views of Earth away from light pollution and the potent greenhouse gases created by rockets.

The balloon is designed to carry six passengers within a pressurised capsule, where comfort and safety is considered in equal measure. Furthermore, personalisation is key to the experience, meaning all manner of luxuries are available on request, even Michelin-starred cuisine through a to-be-announced partnership.

Three test flights with pilots on board have

now been successfully completed, bringing the concept a step closer to reality. “I am thrilled to have built the bridge between my dream of space travel and reality,” comments d’Astiès.

“Those who share my desire to travel in harmony with the elements and the wind can finally do so onboard Céleste.”

The interior design scheme is yet to be revealed, though if Dirand’s land-based portfolio is anything to go by, travellers can expect an elegant aesthetic defined by quality materials and close attention to detail, complemented by his signature appreciation for the French art de vivre.

“Architecture has a function, and this, paired with my profound passion for hospitality, has provoked an inspiration for this innovative and groundbreaking project,” says Dirand. “Design is about shaping experiences, and this experience will shape people’s lives. I am thrilled to be working on this project and hope that our guests will return to Earth with new perspectives towards our precious planet, its beauty and how to protect it better.”

Joseph Dirand to showcase his signature French flair in space.

Taking Off

With eVTOL (Electric Vertical Take-Off & Landing) transportation becoming a reality for short-haul transfers and trips across town, the race is on to put the required infrastructure in place. As such, Foster + Partners has released a provisional concept design for a vertiport terminal next to Dubai International Airport.

Developed in collaboration with Skyports Infrastructure – a designer and operator of vertiport technology for the Advanced Air Mobility (AAM) industry – the DXB Vertiport is one of four initial locations currently under consideration. The sites form part of a vision for a future eVTOL network that will connect Dubai’s most popular – and populous – areas and provide high-speed, zero-emissions travel.

David Summerfield, Head of Studio, Foster + Partners, comments: “We are delighted to have developed a vertiport concept for the emerging AAM industry, which will transform the way people travel in Dubai. The conceptual vertiport connects with Dubai International Airport and

the Dubai Metro to provide seamless, sustainable travel across the city for international and domestic passengers.”

The architectural studio has vast experience in transport and infrastructure design, with projects ranging from airports to train stations. In Dubai, their vision sees the terminal situated on an elevated deck to facilitate take-off and landing, with a curvilinear structure that wraps around the airfield, offering panoramic views of the aircraft and city beyond. Taking into account climatic conditions, the building is designed with deep roof overhangs and a façade inclination – both incorporated to protect from direct sunlight and prevent overheating. The interior spaces feature a refined palette of warm, natural materials to create a comfortable and serene environment, while planted landscaping enhances the exterior surroundings.

Skyports Infrastructure and Dubai’s Roads & Transport Authority plan to develop the network of vertiports for air taxi services by 2026.

Foster + Partners develops a concept design for Dubai’s first vertiport terminal.

© Foster + Partners

Safe, Connected and Comfortable

Crystal Cabin Awards announces its finalists, offering a glimpse into the future of flying.

Ranging from seating concepts to nextgeneration connectivity services, the finalists of the Crystal Cabin Awards have been announced. Championing innovation in aircraft interiors, the annual competition attracts entries from airlines, engineers, designers and students, each encouraged to draw on their own expertise to make improvements to the cabin environment. Amongst the finalists – split across seven categories – safety, connectivity and comfort take centrestage, with many entries seeking to ease the pain points of air travel today.

CABIN COMFORT

Comfort is arguably the greatest challenge in aircraft design, particularly when it comes to long-haul travel. As such, finalists in both the Cabin Concepts and Passenger Comfort categories focus on creating a restful environment. Air New Zealand’s Skynest caters for ultra-long-haul travel in economy class with its lie-flat sleep pods, while Lufthansa Group’s Allegris comprises 14 seat types across four travel classes, the premium option being a double suite.

Adient Aerospace and Boeing EnCore Interiors also hope to elevate the flying experience for Business Class passengers on single-aisle aircraft, having developed a new configuration known as the Ascent Front Row Suite, which orients the seat towards the window and adds a desk, mini-bar and library, as well as a lieflat bed and space to seat a companion. Taking a different approach, Diehl Aviation is looking to enhance the crew areas, having entered a foldaway rest space in single-aisle jets.

CONNECTIVITY FIRST

Connectivity in the cabin is a growing trend, with travellers expecting the same services in the air as they have become accustomed to on the ground. Making the shortlist in the IFEC (In-Flight Entertainment & Connectivity) and Digital Services category, Airspace Link HBCplus from Airbus is a new high-bandwidth satellite connectivity solution offered both as a line-fit and retro-fit, while LEO – submitted jointly by AirFi and Iridium – is a lightweight inflight connectivity solution that harnesses the

Skynest Skyted

power of the Iridium Certus Low-Earth-Orbit satellite network, enabling passengers to connect to WhatsApp and iMessage. Finally, Skyted – by cooperation partners PriestmanGoode, Airbus Development, European Space Agency Accelerator Program and ONERA – has made it to the finals with a sound-absorbing facemask with integrated WiFi, developed to combat increased cabin noise generated by future 5G connectivity in the cabin and the ensuing proliferation of video calls.

CLEAN AIR

Since the Covid-19 pandemic, passengers’ expectations of cabin cleanliness has reached new heights; as a result, the Health & Safety category sees all three finalists focusing on improving air quality. Pothos by Collins Aerospace purifies and deodorises cabin air to mimic outdoor conditions, while the Humidification Onboard Pure Air from CTT Systems adds an active carbon filter to existing humidifiers to clean the air. Completing the line-up, ACES from Teledyne Controls is an Aircraft Cabin Environment System that monitors air quality, verifying the health of the cockpit and cabin for both crew and passengers, ensuring a safe and optimum operating environment.

SUSTAINABLE SOLUTIONS

Sustainability is also high on the agenda across the aviation sector, and minimising the ecological footprint extends to the cabin interiors. Shortlisted in the Sustainable Cabin category are three solutions that do better for both plane and planet. Airbus and its cooperation partners Mitsubishi Chemical Group and CTC have developed the BioMat Sidewall Panel, a bio-based thermoset resin that marks a significant step towards the introduction of a more sustainable material in the aircraft structure. Diehl Aviation has engineered a composite cabin lining with integrated vacuum insulation that leads to a reduction in energy consumption. And Lantal Textiles has created Deep Dyed Carpet, a digital technology that produces customised carpet designs in an eco-friendly way, with substantial water and waste savings during manufacturing.

Other entries include an acoustic dampening material that reduces noise transmission from engines, and a 3D-printed cushion that optimally supports the human body. All 21 finalists will have the opportunity to present their concepts to a jury of experts, before winners are announced at a gala dinner in Hamburg on 6 June.

Crew Rest

Ascent Front Row Suite

Swiss Sensibility

Swiss International Air Lines is to elevate its on-board experience from 2025, with an entirely new cabin designed in partnership with PriestmanGoode. Known as Swiss Senses, the concept will feature on the airline’s long-haul fleet and sees the overhaul of materials, colourways and lighting to enhance comfort, tranquillity and wellbeing. “We understand just how important materials and aesthetic values are for passengers,” explains Daniel MacInnes, Director of PriestmanGoode. “Working with the Swiss team, we built a look and feel that is inspired by the country’s DNA, especially from the natural landscape, but also from the heritage in design and architecture.”

He continues: “Our expertise in colour, material and finish is regularly applied to create a sense of place. In this case, we’ve taken that further, selecting materials and then applying techniques used by Swiss architects such as Le Corbusier and Peter Zumthor, to highlight features and achieve a sense of home.”

In the First-Class cabin, natural oak and tones of claret and anthracite meet the design brief of warm minimalism, while in Economy, comfort is found in new seat ergonomics. The design language translates across the Premium Economy cabin too, where spacious seating and warming toneon-tone colourways contribute to a relaxing ambiance. All seating classes will also feature new Human-Centric Lighting to help alleviate the effects of jet lag. “We’ve created spaces where Swiss passengers will feel at home, be comfortable and benefit from cleverly concealed functionality,” MacInnes concludes. “The experience will leave them uplifted as they proceed with their journey.”

Double Take

Following the launch of Allegris – a new generation of seating options across all cabin classes – Lufthansa has now unveiled a double suite for couples travelling together. Categorised as First Class Suite Plus, the concept is fully private behind ceiling-high walls and a closable door, and features two wide seats that can be combined to form a double bed. Passengers also have the ability to heat or cool their seat to the desired temperature; connect a personal device to the entertainment system; and store belongings in the in-suite wardrobe so they can comfortably change clothing.

As with other cabin classes in the Allegris portfolio, the First Class Suite Plus has been designed by PriestmanGoode, who describe it as the first of its kind, both in terms of bringing this level of cabin onto an A350, and in its ability to adapt to personal comfort and requirements. With new options in Premium Economy and Business Class too, the Allegris generation offers travellers significantly more choice across the network. “Every guest has their own understanding of premium, which is why we focus on maximum individuality and exclusivity,” explains Jens Ritter, CEO of Lufthansa Airlines. “The First Class Suite Plus conveys the feeling of privacy and individuality similar to a hotel room – only at an altitude of 11km.”

Hong Kong Flavours

As airlines continue to enhance the inflight dining experience, Cathay Pacific has unveiled new menus for its Hong Kong Flavours concept, partnering with Michelin-starred restaurant Duddell’s to celebrate culinary heritage.

With both Cathay Pacific and Duddell’s originating in Hong Kong, the collaboration stems from an appreciation of the city’s gastronomic traditions, with the curated menus bringing a fresh interpretation of much-loved local specialties. “We want to deliver delightful dining experiences for our customers by focusing on the details that matter, and this ethos is at the heart of every single dish we developed together,” comments Vivian Lo, General Manager of Customer Experience & Design at Cathay Pacific. “As Hong Kong’s home airline, we place great importance on serving our customers with authentic local culinary delights through our Hong Kong Flavours concept, while also showcasing the diverse range of cuisines our city has to offer.”

The menus – served in premium classes on select flights departing from Hong Kong – feature appetisers, main courses and desserts, and reflect an aspiration to connect the city to the rest of the world through culinary creations. Customers flying in Business Class will dine on steamed halibut, hot-and-sour rice noodle soup and drunken prawns with aged Huadiao wine, while First Class fliers will enjoy the likes of chilled abalone and cucumber, wok-fried lobster in white pepper sauce, and braised Iberico pork belly made using Duddell’s special blend of spices. “As Duddell’s serves Cantonese cuisine, the theme is unquestionably Hong Kong-inspired,” concludes Yenn Wong, CEO of JIA Group. “We want to bring Hong Kong’s traditional flavours to different parts of the world.”

Qantas Champions Quality

Qantas customers travelling across its regional and international network are enjoying an elevated dining experience across inflight and lounge services, as the airline rolls out significant menu enhancements. Following a multi-million-dollar investment –which also takes in the expansion of its airport lounges and renewal of aircraft – the airline is introducing new dishes and larger portions across all cabins, with a focus on high-quality ingredients from premium Australian producers.

“Premium food and wine is one of the top three reasons our customers choose to fly with Qantas, so this significant boost means we will be able further our efforts to deliver a world-class experience in the sky,” explains Markus Svensson, Qantas Group Chief Customer Officer. “We are proud to work with established and emerging Australian food and wine producers to offer the best possible dining experience to our customers.”

Key enhancements include a vegetarian option for all meals and an increased range of light-bites on domestic flights, with quality ingredients a priority across the entire offer. New dishes such as Seared Grasslands Beef Fillet and Bannockburn Free-Range Chicken Kyiv will be served in Business Class, while First Class passengers dine on Queensland Spanner Crab and Crumbed Margra Lamb Cutlets.

“We are spoilt for choice when it comes to being able to source top-quality food from fantastic Australian producers,” comments Qantas’ Creative Director of Food, Beverage & Service, Neil Perry, who has worked with the airline for 25 years. “Over time, it’s been fantastic to see a broader curiosity around international cuisines and plant-based dining, which has allowed us to become more adventurous with our menus.”

Shaping sustainable interiors for land, sea, and air

Sustainability is today’s most urgent topic for interior designers.

Sustainable Design Summit provides the world’s only forum dedicated to making sustainable choices easier for interior designers in the cruise, hotel, and aircraft cabin sectors.

Industry-leading keynotes

Interactive breakout sessions

A hand-selected product showcase

Intimate networking

28 November 2023

Museum of London Docklands

www.sustainabledesignsummit.com

Find out how you can get involved

Best of Bubbles

Dining isn’t the only element of the inflight experience to get an upgrade, as airlines are championing provenance and quality in their drinks offer too. British Airways, for example, has introduced English sparkling wines in its Club World cabin, while Emirates has signed an exclusive agreement to serve Moët & Chandon, Veuve Clicquot and Dom Pérignon on board. For British Airways, the focus is on provenance, with the group’s Master of Wine working with homegrown producers to showcase the best of British bubbles. The carefully selected English sparkling options are available on a rotational basis, changing quarterly with the seasons to accompany the dining offer. The first to debut is Digby Fine English Brut NV, which has over three years’ maturation giving it great complexity and finesse. This will be followed by Balfour Rosé de Noirs, an exclusive blend made from red grapes grown on the Balfour Hush Heath Estate in Kent. Later in the year, Simpsons Chalklands Cuvee Brut NV, also from Kent, will bring delicate notes of crisp green apple, and from January 2024, Wiston Estate Brut NV, a citrusy blend from the South Downs, will take the spotlight. Emirates meanwhile, lays claim to being the only commercial airline in the world to offer three premium champagnes from luxury goods group LVMH. Dom Pérignon is served in First Class across all global routes; Veuve Clicquot is available in Business Class on routes to the Americas, UK and Europe; and Moët & Chandon is served in Business Class on routes to Africa, Middle East and Asia Pacific. Dedicated to the craft, the airline also has its own wine channel, where passengers can learn more about the process of making champagne, while cabin crew are educated in food pairings and technical notes. In all, Emirates has invested more than US$1 billion into its wine programme over the past 16 years, buying blends at the earliest opportunity to allow time for maturation, meaning the flavours can reach full potential before being tasted on board.

High-Flying French Dining

Extending from airport lounges to aeroplane cabins, Air France is elevating its dining offer through 2023, reaffirming its role as an ambassador of fine French dining. The airline has revealed collaborations with no less than 17 top chefs, handselected for their commitment to culinary heritage and passion for showcasing local produce.

On its long-haul flights from Paris, Air France entrusts the creation of its dishes to Michelin-starred chefs, with the menus changing according to the season. In the La Première suite, Arnaud Lallement brings his cuisine from the Champagne region, while Argentinian chef Mauro Colagreco honours his adopted home region of Côte d’Azur; Régis Marcon draws his inspiration from the Ardèche and Auvergne regions, and Emmanuel Renaut champions produce of the Alps. In Business Class, passengers can feast on the culinary creations of Michel Roth from Lorraine and Thierry Marx from Paris, while French pastries and sweet treats come from Philippe Urraca and Angelo Musa. And finally, Anne-Sophie Pic from Valence will end this year’s signature chef cycle with dishes combining creativity and original flavours.

Elsewhere across the portfolio, Amandine Chaignot has joined forces with François Adamski to create the new SpringSummer menu for an Air France lounge at Paris Charles de Gaulle, adding to the Alain Ducasse dishes available across the airport’s other terminals.

By constantly renewing its offer – embarking on new chef partnerships and adding new dishes – Air France hopes to keep frequent fliers coming back for more, all while highlighting the quality and diversity of French cuisine.

A stylish touch to high-standard tables

Revol Mealplak Ice

The Mealplak Ice collection comprises a range of displays, podiums, risers, trays and plates. Not intended to replace the porcelain traditionally used in tableware, but rather to become a harmonious part of the overall service that highlights the quality of dishes, the series sees a translucent frosted white plate create an elegant base for all manner of cuisine. Resistant and durable, the collection’s patented material has been designed to suit a variety of buffet and service demands, with Revol able to develop an array of customised hospitality solutions. www.revol1768.com

Secto Design

Kontro 6000

Secto Design’s Kontro 6000 pendant lamp was created to complement the rest of the Secto Design collection. Shining light across a wide space thanks to its open design, the lamp can be styled alone as an eye-catching piece in itself, or as part of a row of multiple pendants. With a height of only 21cm, the product is well suited to spaces with lower ceilings, while the play of light and shadows it creates can also be used to build sculptural compositions, enhancing the aesthetics of a range of interiors. Accounting for guest experience whilst also prioritising comfort, the light has been designed with crossing slats, which can function to create a shield that prevents the bulb from being too bright for viewers, producing a soft, diffused light. Secto Design is a Finnish family-owned company that specialises in crafting handmade design lamps from PEFC-certified local birch. The entire collection, which comprises 29 different models, is designed by architect Seppo Koho, while all of Secto Design’s lamps are sustainably manufactured in the brand’s factory in Heinola, Finland.

www.sectodesign.fi

Parla Design Nigiri Bar Stool

After the success of the Nigiri Chair, several new pieces have been added to Parla Collection, Parla Design’s readyto-order furniture range; the latest of which is the Nigiri Bar Stool. Originally designed by Parla’s Head of Design Betül Inci for her family, the stool stands at 103cm tall, blending an Asian-contemporary style with traditional crafting and modern technology, resulting in a sleek ergonomic seating option. Made from solid ash, the stool is available in a range of upholstery fabric options and eye-catching hues, including light walnut, mocha, dark walnut and black, making it appropriate for a variety of hospitality settings.

www.parladesign.com

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Continental Skai

Continental has developed a range of faux leather products named Skai, which boast an elegant aesthetic and a soft feel to the touch. Continental’s wide range of faux leathers can be made suitable for a variety of boat and cruise settings, from seating and wallcoverings for outside areas on yachts, to interior upholstery and seating on cruise ships. Potential exposure to the elements aboard ships means that materials need to be robust and durable, as well as aesthetically pleasing. Hence, Skai has been designed with a nano-coating that ensures a high level of scratch and abrasion resistance, as well as the ability to reflect infra-red radiation and minimise damage from the elements.

www.continental-industry.com

Forest Group Motorised Rod System

Forest Group’s new generation motorised rod system (MRS) is a decorative window covering solution that can seamlessly integrate into a range of vessels. The rod system allows curtains to easily glide open and closed at the touch of a button, controlled using either the Forest Connect App, remote control, wall switch, or even voice command. With an entirely redesigned motor pulley and return pulley, the smart curtain system creates a clean and elegant look for nautical interiors. Made from high-grade aluminium, the new MRS is suited for both wave and standard pleats. It is also available in seven colours, while the Kevlar reinforcement of the transport belt ensures a smooth and silent operation.

www.forestgroup.com

Jung KNX Smart Home Technology

Jung’s innovative KNX automation system enables vessels’ lighting, shade, air conditioning and multimedia systems to be controlled using a smartphone or tablet. Horizon Yacht FD90 Hull 22, Taiwan is the first ship to be equipped with the system, where – amongst other things – lighting effects and of Jung’s KNX automation system make it possible to immerse the ship’s salon in different colours. These unique functions are controlled either by using the wall-mounted push-buttons in the LS 990 design, the operation of which is made simple and sleek thanks to clear icons or, conveniently for users, via an app installed on a tablet or smartphone.

www.jung.de

Florence by Lemi Group is a multifunctional spa table comprising an elegant wooden base-container and a mattress designed with HBS Stress Relief System, facilitating ergonomic comfort for head, back and shoulders. The base of the table is equipped with sliding panels to facilitate workspace optimisation, while three electric motors allow for the easy adjustment of height, backrests and legrests according to the needs and comfort of the operator. The standard foot pedal also allows the table to memorise up to two positions, making it easier and faster to return to the favoured configuration. Florence, like all the products in Lemi Group’s Beauty & Spa line, can also be supplied alongside the attachments needed to fix the product to the floor of the cabin, making it stable throughout the entire duration of treatments.

www.lemispa.com

The Sagano buffet display collection from Zieher sees feathery bamboo poles hold up a platform of white resin, topped with neutral toned rings that vary in size to create a standout display. Accompanying Sagano is Stomp! – a range made up of darker, blue-toned resin display platforms. The resin used in both series is food-safe, having been refined with a silk-matte finish and oiled to make it suitable for handling food. Surfaces can however be additionally protected by positioning optional glass plates on top, which can be easily replaced when and where needed. The desire for handmade, unique pieces is perceptible in all sections of the hotel industry and, with its buffet display pieces, Zieher aims to meet that desire.

www.zieher.com

The Rubelli Frammenti Veneziani collection is a journey through the various hallmarks of Venetian textile design, all of which are meaningful to Rubelli’s heritage. With offerings consisting of sumptuous velvet, archival fragments synonymous with Venice, light jacquards and wefts inspired by the textures of the planets, Rubelli’s Frammenti Veneziani provides a range of products and services, including furniture design, coverings and bespoke wall treatments. Believing that all hospitality settings should be a reflection of their unique core, the brand’s diverse collection means that spaces can be designed in a way that suits a range of tastes and requirements.

www.rubelli.com

Zieher Sagano

Lemi Group Florence

Rubelli

Frammenti Veneziani

Indel B Mariner T40

Mariner T40 is a thermoelectric mini-bar designed specially for cruise ships by Indel B. Despite having a capacity of over 40 litres, the fridge is sleek and lightweight, with a reversible door, making it a subtle yet practical addition to a range of interiors. Reducing noise for guests, Mariner T40 has no internal or external fans, being instead equipped with a thermoelectric plate, as well as a sealing of long-lasting epoxy-resin, further improving the guest experience. Inside, the product is organised with repositionable shelves and balconies to maximise flexibility and versatility, adjustable depending on the requirements of the guest and the setting it is used within.

www.indelb.com

Robos Hooded Daybed

Robos’ custom-made Hooded Daybed draws inspiration from the design of the ‘strandkorb’, hooded windbreak seating often found at traditional seaside resorts. Easily recognisable owing to numbering on the back of the daybed, the seating installation can make for a striking addition on board a range of vessels, while its aluminium base is sea-proof and lightweight, making it durable to the elements while out on the ocean. The product’s fabric is also IMO-certified, dyed with an acrylic base. The daybed was developed for Virgin Voyages’ Resilient Lady, in a collaborative process that saw it brought to life from a sketch initially provided by the brand’s design team. www.robos.nl

Corby Hall Tasting Spoons

Corby Hall, a family-owned business based in New Jersey, has supplied the international hospitality industry with flatware, holloware and bright white porcelain dinnerware for the past 40 years. With versatile designs ranging from traditional to contemporary at competitive price points, Corby Hall has the ability to supply all food and beverage outlets associated with a full-service foodservice operation, making it appropriate for a range of hospitality settings. The brand’s global distribution network, coupled with production facilities in Europe and Asia, also allows for the provision of seamless service for both opening orders as well as re-supply. www.corbyhall.com

Panaz Meridian

Panaz’s signature collection for 2023, Meridian, comprises a carefully curated range of woven jacquards, as well as both plain and sheer draperies for the cruise sector. Influenced by themes relating to geology and natural structures, each of the seven distinctive designs are reminiscent of organic textures such as tree bark, sedimentary stone and petrified leaves. The organic-inspired patterns work with complementary natural textures like wood, slate and stone to achieve complete design cohesion. The collection features four organically-textured jacquard drapery designs, a matching velvet jacquard upholstery, a wide-width sheer, and a wide-width plain with chintz and matte sides. Available in five classic colour stories, Meridian can be coordinated with Panaz’s extensive upholstery portfolio, including its dual-purpose velvet, Enchant, combining technical performance with creative design to provide even more options to the global cruise market.

www.panaz.com

Chelsom Edition 28

Edition 28 is the latest decorative lighting collection from British brand Chelsom. The eclectic range has been designed entirely in-house by Robert and Will Chelsom, with decades of experience and expertise coming together to produce an array of different lighting styles, created specifically with hospitality, marine and residential projects in mind. Alongside its catalogue, Chelsom has also launched a brand-new website, where enhanced functionality, imagery and a range of fresh features provide an all-round improved customer experience, faciltating the exploration of its portfolio. Since its inception, the company has supplied lighting to hospitality settings across the globe, delivering both standard and bespoke solutions at all levels and across a range of interiors. Boasting longstanding relationships with hotel operators, interior designers, FF&E procurement companies and contractors worldwide, Chelsom collaborates with and services these key clients across the hospitality industry, working at all price points and to varying design briefs to develop diverse lighting products.

www.chelsom.co.uk

The Year is 2100

The future of cruising has been the topic of much debate in recent years, with leaders often quizzed about the next-generation ships, perhaps now more than ever given the increased environmental pressures and ever-changing consumer behaviours. Now, thanks to a new concept from Meyer Group, we might just have the answer. Unveiled at Seatrade Cruise Global, Reverse offers a glimpse into what cruise ships could look like in 100 years’ time, showcasing the possibilities of sustainable design. Taking visual cues from the streamlined profile of the rockhopper penguin, the aerodynamic concept is equipped with a closed glass façade, urban garden and drone landing pads, while the interior features a cabin structure detached from the outer hull, allowing for efficient modular manufacturing. With the environment in mind, the vessel harnesses wave

energy through innovative wings on the hull, and also makes use of solar and wind power to eliminate the need for fossil fuels.

While Reverse is currently only a concept, the German shipbuilder reveals that the futuristic ideas featured will eventually influence real projects. “The ship is based on global megatrends and is one – but not the only – logical response to them,” says Tim Krug, Head of Concept Development Group at Meyer Group. “For example, we have only provided for small restaurant areas that serve more as social meeting places, because we imagine that nutrients will be consumed in concentrated form, like pills. From today’s point of view, we sometimes come up with extreme approaches, but it is equally important to think them through and develop answers from them.”

Meyer Group looks to the 22nd century with a sustainable cruise ship inspired by the rockhopper penguin.

Naturally the most beautiful design on board

Panaz are uniquely positioned to support the Cruise sector and have products that meet IMO FR standards, and the MED wheelmark accreditation. With a global supply chain and infrastructure, we can support wherever and whenever you need us.

Visit our website today or email our Head of Global Cruise Sales dafydd.watkins@panaz.co.uk.

www.panaz.com