One number stands out above all others: fifty. Fifty metres is the length of Custom Line’s new flagship. An important milestone, certainly, but also a point of arrival and, above all, a point of departure, marking a watershed in the history of the shipyard and of architect Filippo Salvetti, who was tasked with designing the exterior lines. A complex, ambitious project destined to redefine the stylistic and technical boundaries of the brand’s displacement line.
Entirely in aluminium instead of fibreglass, design solutions never before adopted by Custom Line, such as the owner’s suite located on the upper deck, and a formal research that combines elegance and functionality, balance and presence. Everything about the Custom Line 50 speaks of evolution. Everything tells of a challenge: that of taking the brand’s stylistic signature to a new dimension. In this interview, architect Filippo Salvetti reveals the path that led him to conceive the exterior design of the largest yacht ever built by the brand.
How did the Custom Line 50 project come about?
The starting point was strategic: we wanted to explore the possibility of building a hull close to 50 metres. Initially, we thought of a fibreglass construction, but with a highly innovative element: the master cabin positioned on the upper deck, a solution usually reserved for larger yachts. This was the real challenge. Then, as the project evolved, the idea of switching to aluminium emerged, a choice that completely changed the approach, making it even more fascinating from a design point of view.
Changing material means rethinking everything, right?
Exactly. They are two opposite worlds. For me, who already knew fibreglass well, aluminium was new territory. The production processes are completely different, more complex and full of constraints. But that is also what made the project so stimulating. On the shipyard, every stage was an opportunity to learn. Just think of the bow wall: initially designed to be completely glazed, it was then modified for regulatory reasons with a series of grilles for water drainage. This is just one example of how every detail is the result of a continuous dialogue between aesthetics, regulations and function.
How much does the material influence the design narrative?
A great deal. With aluminium, everything changes: thicknesses and balances. It’s like working with armour. There are more constraints, less interior space and more regulations to comply with, such as fire doors, technical routes and safety requirements. But these obstacles become the inspiration for innovative solutions. It’s a project that leads you to rethink every detail without losing sight of the original idea.
The Custom Line 50 also represents the pinnacle of the brand’s displacement line. How difficult was it to maintain consistency of language while completely overhauling the layout?
The real complexity was not so much the transition from composite to aluminium, but the presence of the owner’s cabin on the upper deck. This forced us to reposition the bridge to a lower level, revisiting the usual widebody configuration. The result is a staggered layout that challenges the brand’s classic codes. To rebalance the profile, we worked extensively on colour details and geometries. The black bands, for example, visually break up the vertical volumes, restoring momentum and lightness.
An innovation that originated with the Custom Line Navetta 30, right?
Yes, it all started with the Custom Line Navetta 30, the first project I designed for the brand. There we introduced a series of new elements to make the yacht more contemporary while maintaining the DNA of the brand’s displacement line. One of these is the black strip at the bow between the hull and the superstructure, designed to visually lighten the volumes. This is a distinctive feature that we also used on the Custom Line 50.
Would you say that the Custom Line 50 design was conceived around the owner’s suite?
Absolutely. That’s where it all started. The idea was to create a completely private area, away from passageways and visual interference. This choice required a rethinking of the entire volumetric composition. To compensate, we introduced a series of horizontal cuts — black surfaces, exposed structural elements — which lighten and make the profile more dynamic. It is a “complex” project, but precisely for this reason it is rich and interesting.
Did moving the bridge to the main deck create any functional difficulties?
It was a challenging choice. To move it as far forward as possible, we opted for a counter-curved front window, an aesthetically refined solution but very difficult to achieve, especially to avoid visual distortions. The glazed surfaces of the aft saloon also have a carefully studied curvature. These solutions combine technology and style.
The exterior design reflects this complexity. I’m thinking of the flybridge with its aluminium hard top…
Exactly, it’s an important element, both functional and aesthetic. When we saw it assembled on the ground, we realised how big it was. It provides shade and protection, making the flybridge a comfortable living space. The V-shaped uprights echo the power of the stern, creating a visual dialogue that is consistent with the entire profile. This element also fits into the stylistic continuity that runs through the brand’s displacement line.
Did the stern area undergo many changes during construction?
At first, we were thinking of a more traditional configuration, but then we opted for a hybrid solution: a two-level terrace, enclosed and protected when sailing, but capable of opening up completely when at anchor. The sides open onto the beach area, creating a direct dialogue with the sea. Here too, versatility and dynamism were the key references.
The interiors and exteriors interact very fluidly. How much did the collaboration with ACPV ARCHITECTS Antonio Citterio Patricia Viel influence this?
A lot. Their approach is based on continuity of space, transformability and functional balance. We worked together to make the transition between inside and outside as fluid as possible, while also respecting technical constraints. Large windows, multifunctional furnishings, consoles that change function: every choice aims to create a dynamic, open, liveable space. The interior-exterior ratio is almost 50%, a perfect balance between life on board and life at sea.
A project also built around privacy…
Yes, the owner of a boat of this type is looking for intimacy and exclusivity. Not adopting a wide-body configuration has allowed us to retain an elegant, “seaworthy” profile, but above all to visually protect the owner’s suite. Even those on the flybridge never have a direct view of that area. It’s a detail, but it makes all the difference.
Last question: are there any elements of the Custom Line Navetta 30 that we find on the Custom Line 50?
There are. The black power units, for example, which were first seen on the Custom Line Navetta 30, have become a distinctive feature of the Custom Line 50 and the Custom Line Navetta 38. It is a sign of stylistic continuity, but also a way of giving a more harmonious interpretation of the volumes. The Custom Line Navetta 30 and the Custom Line 50 were created almost in parallel: today they represent two opposite poles of the brand’s displacement line, but they speak the same language.
