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Brave Ulysses cruised the same midnight blue sea as we do
today, brightened by that very same "rosy-fingered dawn" Homer described
millennia ago.
Approaching the Côte d’Azur, we see the same limestone walls
and azure skies that Matisse once painted, as well as the exact taupe-and-pearly
pebbles that Brigitte Bardot squeezed between her toes while turning heads on
Saint-Tropez.
How do you blue? Cassiopeia puts it to the fore. But the taupe and black preferred by J.
Robert Scott’s designers implies blue is the background. (Click images to enlarge)
What wonderful combinations of colors unfold on the horizon, what palettes
open up every day while at sea; each one a masterpiece of composition. Look no
further than the mahogany and teak on the deck for awe-inspiring lustrousness!
And then there are our personal colors; colors that make us comfortable and
happy, which may be more significant than anything on the horizon. Here’s how
some of the top yacht
designers are helping us interpret this kaleidoscope of
possibilities in increasingly sophisticated ways.
The United Kingdom’s John Munford has been defining and
refining traditional style on yachts for the past 25 years. His color palettes
are mostly inspired by the boats themselves; their inner truths. Materials and
craftsmanship comprise his basic inspiration, and in this he is an acknowledged
master.
"My first major yacht was Jessica in 1981,"
says Munford, recalling the 174-foot (53-meter), three-masted topsail schooner.
"I enjoy and love its use of timber. Jessica has a teak
interior, styled after the yachts of the turn of the century. It is a mature,
gent’s club interior, heavily beamed, with an undeniable sense that you are
within the yacht itself, strongly connected to the interior style. And the
exterior style is created around the way the yacht operates; it’s a sailing
machine. The interior furnishings and colors accent the timbers. There was
minimal use of fabrics—mainly green leather and Persian-style throw rugs—and the
walls were in light tones, white and cream," he says.
Munford is currently working on four other projects from 125 to
221 feet. Like his 155-foot (47-meter) Katrion, now called
NOA VII, the smallest of Munford’s projects will be sharp, tailored and
comfortably modern with pear wood on the bulkheads and dark brown wengé wood
floors for contrast.
Designer Candace Langan of Newport, Rhode Island, takes many a
color combination from water and shells. Her color scheme for retro-style
105-foot (32-meter) Cassiopeia is a symphony in blue and white.
"The wood is teak, stained a pretty color," says Langan, "and there’s an
ivory carpet, which is a nightmare for the crew but it always looks great.
Also in the salon are two sofas in a pretty, deep, solid blue and a pair of
chairs in a blue-and-white print.
"Below, all the staterooms are blue and white but lighter in
tone," Langan adds. "We had fun with guest heads. The owners had a ceramic
umbrella stand they found in Italy, and that was the inspiration to have the
sinks hand painted in blue and white.
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