By Matteo Zaccagnino, Editor-in-Chief
The nautical industry renews its bond with design. And it does so by showcasing itself at the Milan Design Week, which for several years has become an important showcase for the ideas and languages it proposes from time to time. A choice that, while it may have seemed risky at first, has proven to be a winning one for many reasons as time has gone by. The most important, in my opinion, was to bring to the centre of the ‘creative’ debate a sector that, although it brought prestige to Made in Italy, was considered a mysterious or, even worse, marginal object by many. As we well know, history has gone in a completely different direction.
The process of contamination has made the boat, and the environments it comprises, an important platform within which to experiment with new living solutions. And that’s not all. The materials and furnishing accessories have done the rest, allowing for a higher level of personalisation, giving life to a multiplicity of stylistic languages never seen before. Of course, the nostalgic might object that, in this way, the boat as such has lost its identity. In reality, the question is more complex. Certainly some excesses could have been avoided, but the evolutionary process of the last 25/30 years has brought undoubted benefits to the advantage of a life experience on board that has certainly become more immersive and engaging. That’s why this year too the Salone del Mobile and Fuorisalone are set to become an unmissable event for professionals and enthusiasts of yacht design. Over the years we have seen real boats arrive in the heart of Milan. Many will remember the Pershing 64 moored along the Navigli. That was in 2008.
Then there have been other significant moments. Like the one that saw Azimut as the protagonist on two occasions. The first in 2018 when, in front of the Triennale di Milano, the temple of design par excellence, it ‘created’ a unique installation featuring the S7.
In 2024 history repeated itself. The Avigliana shipyard transformed the Bagni Misteriosi into the ideal setting to present the Seadeck 6, the first model in the range of the same name. Something more than a simple installation, but a real journey born from the creative flair of AMDL CIRCLE and Michele De Lucchi.
This year too, there is no shortage of food for thought. Starting with those promoted by Sanlorenzo, who have built a solid and deep bond with design. ‘Once again this year, with its participation in Design Week and the exhibition-event organised by Interni, Sanlorenzo is contaminating the nautical world with elements of creativity and design. With the Wind Labyrinth installation, through which we wanted to interpret and celebrate the essence of Nautor Swan, the latest star to join our galaxy, we want to confirm once again our commitment to respect for the planet, in which every element, from design to nature, contributes to an ecosystem of excellence and innovation’, said Cav. Massimo Perotti, Executive Chairman of Sanlorenzo.
The installation is set up in the 18th-century courtyard of the University of Milan. Curated by Piero Lissoni, artistic director of Sanlorenzo since 2018, it is configured as a labyrinth of sails, mainsails and jibs, all recovered through an upcycling process, and suspended in a harmonious dialogue between lightness and structure, evoking the continuous movement of the sea. The installation aims to transport visitors to a dreamlike dimension, where the play of light and shadow, the transparency and fluidity of the sails create an impalpable and refined atmosphere. An emotional journey that expresses Sanlorenzo’s vision: to redefine the relationship between man, nature and technology, through an aesthetic and design language increasingly oriented towards sustainability.
‘This year the installation is about the wind and the sea, it tells the story of this new world that is Nautor Swan, a brand that has become part of the Sanlorenzo universe. We have created a labyrinth made of many sails because, after all, even if the sea has no visible obstacles, it is like a great labyrinth. The idea is to build a labyrinth made of wind, water and sails,’ said Piero Lissoni, Artistic Director of the Group.
Immersio Temporis is the name of the installation that marks the debut of Cranchi Yachts at the Fuorisalone. Created by the visionary designer Christian Grande, it is on display in the historic Palazzo Clerici in the heart of Milan. ‘Our presence at Milan Design Week is no coincidence. Cranchi Yachts is a company that interprets contemporary design with a constant focus on innovation and aesthetic research. Immersio Temporis represents a significant step towards a vision that goes beyond boat building: it is the celebration of timeless beauty, which goes beyond functionality, and which communicates with the public through a visual and sensorial narrative.
Combining the unique charm of the sea with the search for projects that blend with it, representing Italian craftsmanship in the world is the synthesis of our company. Beauty is our only benchmark’, says Guido Cranchi, CEO of Cranchi Yachts, adding: ’Building boats means I travel a lot and makes me appreciate how much people recognise the value of Italy and of products Made in Italy. It is essential to represent this with respect and discretion, taking it out into the world with care and attention. An Italianness made up of elegance, style and ideas. I am grateful to be able to share and pass on our experience, the fruit of Italian craftsmanship and creativity’.
The installation invites the public to look up from an unusual perspective, thus transforming the perception of the surrounding space. The keel, suspended between heaven and earth, becomes a fragment of crystallised time, a point of equilibrium in which everything seems to be suspended. The concept of fluidity and transformation is intertwined with the aquatic element, guardian of stories and memories. The blue sheets, evocative of water and made with 500 square metres of printed crystal fabric, recall at the same time a sense of continuity and immutability. Finally, the gaze rests on the solid anchorage to the ground, symbolising the solid roots on which Cranchi Yachts has based its success since 1870.
Once again, Riflessi sul Mare is born from the creativity of Christian Grande. Commissioned by Besenzoni, it is on display in the Cortile d’Onore of the University of Milan, as part of the Fuori Salone. ‘We are very happy to have the opportunity to participate again in the Fuorisalone. Design is a universe that fascinates us and that, after all, is already connected to our sector: yachts are an expression of design and stylistic excellence, and we believe that the dialogue between boating and design can open new perspectives. Our presence here is not just a showcase, but an opportunity to talk about our design approach in a broader context’, commented Guido Besenzoni, CEO of the company.
A series of mirrored platforms evokes a sequence of waves emerging from the surface of a symbolic sea. The play of reflections that are generated from time to time establishes a link with the world of Besenzoni, represented in this case by some of the brand’s iconic products such as the gangway and the driver’s seat.
