Light and shade

For this reason, the windows aboard most modern motor yachts and superyachts are tinted and offer a vast range of window treatments, from blockout shades to sheers.

LED strip lighting is essential for setting the mood for spaces, from galleys to bedrooms. “Set under cabinetry, it can subtly show the way, lighting the path to the bathroom or down a companionway, as well as showing off the cabinetry’s lustre and craftsmanship,” says Egan.

There are also speciality pieces like wall sconces, ceiling pendants and lamps. “For yachts, such lighting needs to be made of components that are not vulnerable to corrosion from the salt in the air,” she explains.

Equally, you need to consider things like a lamp’s ability to weather rough conditions. The rod and bolt system ensures lamps remain stable and secure.

Egan has recently been working on a refit of More, a 44-metre Benetti Vision that is undergoing works at Rivergate Marina and Shipyard, Brisbane. Interior lighting is a significant part of the project. “We’re replacing all the halogen lighting with LEDs, which is a major undertaking,” she says.

“Halogen is hot, uses a lot of energy and puts an added load on systems – it can also be a fire hazard. Replacing them with LEDs causes a dramatic decrease in temperature, making the air-conditioning more effective.”

On an aesthetic note, lighting has moved away from warm white to a more natural white light. “We’re after cool white, not golden,” says Egan, who suggests 3,000 lumens is a good measure (1 lumen is equal to the brightness of a candle).

Working with the design brief from the owner of More, Egan is prioritising Australian designers and suppliers. “To suit their modern aesthetic, we’ve chosen hand-blown lights from the Coral collection by Currumbin glass specialists SØKTAS,” she explains. “They’re moving into the superyacht realm and using materials that are adapted to yacht use.”

SØKTAS is the creative collaboration between Oliver Höglund and Ryan Roberts. The company began in Oslo, Norway, where the pair first met in 2015, and now operates from a Gold Coast showroom. A third-generation glass artist, Höglund learned his trade from his father, Ola and grandfather, Erik.

Ryan Roberts, Business Manager at SØKTAS, says the duo chose the brand name because it sounded cool and one of a kind. “We wanted a word nobody had heard of – it’s an ancient Norwegian word that means searched,” he offers.

Being located in Currumbin is no barrier to being sourced by the country’s leading stylists and exporting to the world, he says. “There aren’t many glassblowers specialising in lighting,” Roberts says.

“The Gold Coast is making a name for its creative industries. Lighting, like fashion, changes. It’s nice to be at the forefront leading change.”

Höglund gets his inspiration from the sea, the surf, and the Swedish technique he learned from his forebears. Compared to the vivid hues of blown-glass products from Italy, the Swedish style is characterised by a clean, simple style, organic shapes and a neutral palette.

SØKTAS has earned a following in residential and commercial circles and, increasingly, superyachts. “We export all over Europe, England, Scandinavia and the UAE,” says Roberts. “People are spending more on decorating their homes and their boats,” he adds.

On the More project, Egan also sourced crystal table lamps and wall sconces, hand-blown Italian Murano lamps and Lucite chandeliers in the Yacht Club collection from Bella Figura, England. She adds, “I like to use lampshades made from natural fabrics, such as James Hare silk, which has something to suit every style, from neutral to textured, florals, shiny silks and shagreen.”

When it comes to window treatments, there’s an entire universe of choice: shutters, shades, venetians, drapes, shears, tinting, hatches and skylights, and textured glazing. “For More, we’re going with the combination of Verosol dual blockout blinds with sheers over the top,” says Egan. “That takes care of the reflection factor, UV and privacy.”

On projects with concave or circular windows, Egan recommends using curtains on a motorised double track with blackout blinds and Rubelli sheers, which diffuse the light and create a flattering, luminous effect. Of course, UV-stable fabrics are specified to ensure fade resistance and longevity.

While not top of the trends, according to Egan, lighting translucent stone is still prevalent, particularly for galley islands or bar areas on deck where ambience is all- important. “The key is to know your stuff, and make sure the surface is lit evenly,” she says.

“That’s why I work with lighting engineers; lighting architecture is a science in itself. For superyachts, you need a lighting architect and, on smaller yachts, maybe even more critically, you need an expert.”

Switch-glass or electrochromic glass are panels coated with lithium ions that light up when a current is applied, switching from clear to opaque at the push of a button. It’s popular for use in ensuites adjacent to master staterooms, but can also be used for social spaces, such as a divider between the bridge and the skylounge for the captain’s privacy.

Andrea Gambacorti and Angela Burlizzi at Analu have decades of experience working with clients on the specification of their new build or refit project. They specialise in Italian fittings, fixtures, decor objects and hand-picked textiles. When it comes to lighting, Andrea says, “Nothing stays the same – technology is constantly changing.

“A major advance was LEDs. Strip lighting has been marvellous for decorating, but the art is in selective usage. LED lighting has been miniaturised and made more efficient, and has diverse applications in architecture and marine.

“Of course, larger vessels can use more architectural design elements, but even in standard downlight products on vessels of 50 feet, there has been an incredible revision in the past five years. They are so much more efficient in power consumption and output.”

As for options, clients often need guidance as “they’re not aware of the world of variety that’s available,” explains Burlizzi. “General lighting can be tricky, such as the feature light above a dining table; it must have a function to enrich a space.

“With larger vessels, designers and owners can really let loose with chandeliers. Also, with bedside tables, there is an extraordinary range of handmade ceramics, glass, leathers and silks, as well as burnished brass, which goes well with richer interiors.”

Colour is very much up to the individual, but Gambacorti favours warmer hues. “I’m not in favour of very cold white,” he says. “It can work on deck and outdoors, but rich fabrics, traditional gloss timbers and even contemporary materials like leather, stone and matte surfaces benefit from a warmer tone. Even warm white lighting on steps can show off the timber to its best advantage.”

Burlizzi’s frequent trips to suppliers in Italy stimulate a wealth of inspiration for window dressings. “It’s very much up to the client’s style and the window shape and vessel. We always look for the nicest solution,” she says, referring to both aesthetics and function.

Roman blinds are perennially popular, and Burlizzi recommends soft fabrics that won’t bulk up. “They need to filter UV rays and give a soft look to a space,” she adds.

Burlizzi recently worked on the second bespoke hull of the Longreef 90. “They wanted something different, colourful and unique, so we used metallic fabrics for the sliding door and window treatments,” she says. “It’s reflective, filters the light and provides privacy. Ultra-high-end retail boutiques use it – it’s very artistic and lovely to look at. You can mould it into light shades or use it as fabric.”

The internet is also a major source of ideas for clients and designers. “People can see all kinds of designs and styles, and we can recreate them on their vessel. The key is to assemble these elements harmoniously with attention to detail,” Burlizzi says, emphasising how an interior designer can save time and money, and marshal favourite features that work together.

“The process is they come into our showroom, we ask them a million questions, then we pull ideas and fabrics into a cohesive vision that reflects their aesthetic.

I know the workshops in Italy where I can source something special to dress the vessel in the best way. My joy,” she concludes, “is bringing a client’s vision to life and seeing their happiness. That applies to every aspect of a boat, from floor and walls to furniture and lighting – it must be glorious to the senses.”

boatstyle.com.au
analu.com.au