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CARINTHIA VII Yacht – Epic $180M Superyacht

The 97m yacht has a value of $180 million with an exterior design by Tim Heywood.

Tim Heywood and Ellehorst Kreuter designed the interior.

Lurssen, the prestigious luxury yacht builder, delivered the completed CARINTHIA VII in 2002 from their Bremen-based shipyard in Germany.

CARINTHIA VII yacht interior

The interior of the CARINTHIA VII yacht was designed by  Tim Heywood Design  and Ellehorst Kreuter in 2002. She has accommodation for 14 guests in 8 suites comprising one VIP cabin, and two twin/double cabins.

She is capable of carrying 37 crew members for a luxury guest experience. Not much is known about the interior of the CARINTHIA VII, except for her accommodations and that she has a beach club, amongst other luxury amenities.

She has features like an on-deck jacuzzi for guests to relax. The details of the yacht’s interior are very private.

Still, the interior is shown to be elegant and luxurious, with the exterior deck featuring plenty of spaces for sunbathing and al fresco dining. 

Tim Heywood was the designer behind the exterior of CARINTHIA VII, featuring underwater lights and a magnificent blue steel hull called “Carinthia Blue.”

It also featured a white aluminum superstructure. She was built by luxury yacht builders  Lurssen  in Germany at their Bremen shipyard.

The exterior exudes a powerful presence in the water and was delivered in 2002. She was refitted three years later in 2005.

She has a teak deck. Her exterior shows her cutting through the water with a sleek hull and superstructure.

Specifications

The 97m CARINTHIA VII has a beam of 18.8m and a draft of 4.8m. She is powered by her 4 MTU diesel engines, which gives her a maximum speed of 26 knots.

At her cruising speed of 22 knots, she has a range of 5000 nautical miles.

She has a volume of 3643 gross tons. The $180 million superyacht has an annual running cost of $10 – $15 million. She was the 12th largest superyacht in the world.

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Boat of the Week: This 318-Foot Gigayacht Got a New Glassed-In Gym After a Massive Makeover

The lürssen carinthia vii emerged back in public view at the monaco yacht show after an extensive makeover., julia zaltzman, julia zaltzman's most recent stories.

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The most eye-catching changes are a 36-foot glass-paneled swimming pool on the main deck aft and a 968-square-foot air-conditioned gym on the bridge deck. That space used six tons of folding glass doors to create a winter garden. It’s complemented by a large cinema screen.

Perhaps the most significant change, though, is the yacht’s conversion from private to commercial use to allow Carinthia VII to enter the charter market. “The deal was made for the boat to come to our facility on a handshake, and then we only had a couple of days to prepare between the handshake and Carinthia VII sailing up to Hamburg,” Thomas Krischkowski, head of refit and repair at Lürssen, told Robb Report .

The list of technical upgrades completed by Lürssen includes a new waterpower treatment, a full sprinkler system, 18.6 miles of cable for a new AV/IT system, new exhaust filters and fully overhauled engines and zero speed stabilizers. The yacht also had to meet new SOLAS stability requirements to be a charter vessel.

In 2002, when the Austrian billionaire Heidi Horten commissioned Project Faberge, as Carinthia VII was originally known, expectations ran high. The yacht paid homage to the fleet of Carinthia s owned and built by her late husband Helmut Horten, three of which were designed by Jon Bannenberg.

As one of only a handful of women to commission one of the largest yachts in the world, Horten called upon one of Bannenberg’s protégés, a young Tim Heywood, to pen the design.

Horten had become an overnight sensation in the art world six years before commissioning the superyacht, after she spent $22 million in a single Sotheby’s auction. Renowned for her keen eye, she ensured Carinthia VII reflected a similar level of artisanal craftsmanship.

The original curved laminated teak planking, forward of the owner’s deck and bridge deck, is described by Fraser broker Antoine X. Larricq, who managed the sale, as “haute-couture detailing.”

Other original features include the thick exterior teak decks and cross-hatched parquet floors, which remain in fantastic condition, largely because Horten only used the yacht for her annual summer cruise.

The new owner, also a keen art collector, had two strict requests for the refit: to seamlessly marry the old with the new, and for the shipyard to complete the work within 300 days, so he could enjoy the winter cruising season. He enlisted Italian studio Bizzozero Cassina Architects to oversee the design.

The studio only had two yacht projects before this. But it had completed residential projects for the owner that brought a similar look to Carinthia VII’s 8,800-square-foot interior, including redoing all eight guest cabins.

The walls are covered in fabrics by Venetian artisans, and the central staircase is decorated with handmade, laser-cut tiles in an ombré-patterned blue that transitions from deep-ocean blue on the lower deck to pale-sky blue on the bridge deck. On each floor, the artwork in the lobby matches the color of the staircase, and classic gold elements have been replaced with a more contemporary silver.

A full exterior paint job updated the hull to Majestic Blue, with the superstructure in Matterhorn White and the external deck walls painted in Shark Grey. Following a few minor tweaks at the shipyard, Carinthia VII will soon cross the Atlantic to make its charter debut in the Caribbean.

Click here for more images of Carinthia VII.

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Heidi Horten: Austria's Richest Woman Sells Luxury Yacht for 160 Million Euros

Heidi goëss-horten, the richest austrian woman, is selling her luxury yacht, the carinthia vii, for an astonishing 160 million euros. read about ms. goëss-horten's "dream ship" and why she has finally decided to sell it..

The wealthiest Austrian woman, Heidi Goëss-Horten, is reportedly selling her famous luxury yacht, the Carinthia VII, for an astounding € 160 million.

Constructed in the Lürssen Yachts yard in 2002, the Carinthia VII is an impressive dream vessel that includes space for Ms. Goëss-Horten’s Bentley, six suites, a sauna, a steam bath, and a helicopter.

According to Bild , the ship’s captain Andreas Jungblut says, “In professional circles, the Carinthia VII is still considered the most beautiful and elegant yacht in the world, despite many new buildings. It was built according to the excellent taste of Ms. Horten, who is also an exquisite art collector.”

Ms. Goëss-Horten is indeed an exquisite art collector with an impressive private collection and even plans to open her own museum in Vienna , as was previously reported by Vindobona.org.

Bild reports that Goëss-Horten’s reason for selling the yacht is that the trips have become “too strenuous” for her and that it has become “more burden than pleasure.”

In recent years, the ship has remained docked in Venice virtually unused.

The € 160 million price tag for the yacht comes with additional operational costs of € 27,400, and a tank of fuel for the vessel costs around € 500,000.

Ms. Goëss-Horten, who is worth an estimated € 2.7 billion, is the widow of businessman Helmut Horten, the founder of the German department store Horten AG.

She inherited her wealth upon the death of her husband, who passed away in November 1987.

Ms. Goëss-Horten is a member of the board of the charitable foundation Helmut Horten Stiftung and was reported by Vindobona.org to be the largest donor to the Austrian People’s Party (ÖVP) .

“I am proud, with my collection and the construction of the museum, to have created something lasting, which future generations will also be able to experience when they visit my museum and take joy in the art that has given me such joy for so long.”

Heidi Goëss-Horten

The Collection

»The true collector cannot be identified through the things he owns, but through those he would delight in having.«

Marc chagall.

Heidi Goëss-Horten (born 1941 in Vienna) has, with great sensitivity and passion, built an art collection of international stature. Over the last few decades she has amassed an impressive selection of several hundred paintings, sculptures and graphic works that offers a profound overview of the development of art in the twentieth and twenty-first centuries. The collection thus brings together a who’s who of art history covering the period from around 1900, through to classic modernism and contemporary art.

The collector grew up in a family environment in which art was a natural part of life. Her father was a technical draughtsman and engraver and made portraits of his daughter that are now part of the Heidi Horten Collection.  

She shared this avid interest in art with her first husband Helmut Horten. During the 1970s, they laid the foundations of their extensive art collection together, embarking on numerous travels and studio visits, in order to experience art in situ and gain an insight into its creation.

Even in those early days they acquired high-calibre works for their private collection: important pieces from German Expressionism, such as Emil Nolde’s painting Red Evening Sun and works by Erich Heckel, in addition to examples of international modernism, including key works by Marc Chagall and Pablo Picasso.

From today’s perspective, Heidi Goëss-Horten’s decision to intensify her collecting in the mid-1990s was most favourable timing. The art market had collapsed in 1990 and was only slowly recovering (The Wall Street Journal, 1996).

Not submitting to shifting fashions has been consistently important to the collector. Heidi Goëss-Horten has always lived with the works and surrounded herself with them at her home. A collector out of passion, her personal relationship and individual engagement with the works of art is key.

Although aiming for discretion and anonymity, on several occasions Heidi Goëss-Horten attracted the attention of the international media, particularly in the early stages of her more intensive collecting.

One instance was when she acquired some thirty masterpieces of modern and contemporary art for many millions  at a single auction in London, thus, overnight, endowing her collection with art-historical significance and a high profile. 

This altered the scope of the collection, for it now included names that had previously been unrepresented, such as Pierre-Auguste Renoir, Joan Miró, Max Pechstein, Carl Hofer, Pablo Picasso, Henri Matisse, Paul Klee, René Magritte, Fernand Léger, Niki de Saint Phalle, Egon Schiele, Lucio Fontana, Jean Dubuffet, Lucian Freud, Francis Bacon, Yves Klein and Georg Baselitz; artists whose works are undoubtedly highlights of the collection today.

In the years that followed, Heidi Goëss-Horten’s purchase of important works by Andy Warhol and Roy Lichtenstein established a focus on Pop art. The larger the collection became, the more the collector’s love for her art stood out – she engaged intensively with the backgrounds of individual works.

As her collection grew, Goëss-Horten started dedicating more attention to contemporary artists. Groundbreaking works by Damien Hirst, Niki de Saint Phalle, Sigmar Polke or Gerhard Richter were early additions. Moreover, the Heidi Horten Collection now comprises not only paintings and works of graphic art, but also a striking sculpture park that has grown impressively over the years and will be showcased at the newly opened museum.

The Heidi Horten Collection Today

Today, with its main concentrations on the art of “Vienna 1900”, German and international Expressionism, Arte Povera, European postwar art and Pop art, the Heidi Horten Collection is a panoply of images with the scope of a museum. 

What began as a passion, now represents a foray into the art history of the last one hundred years. Surveying the collection, one can appreciate how particular areas of interest formed, how artists have influenced one another, and the revolutionary spirit inherent in the oeuvre of every single artist.

By founding a museum, Heidi Goëss-Horten is taking a step towards a cultural future for the collection that will influence the canon of public art history. She also joins the time-honoured ranks of collectors who, through their vision, have created places for public engagement with art. True to the character of a private collection, these are very personal spaces whose purpose is to foster fresh approaches to art for all interested visitors. 

On Helmut Horten’s asset accumulation

The academic evaluation of Helmut Horten’s entrepreneurial activity during the Second World War was an objective of the collector and of the Helmut Horten Foundation. Heidi Goëss-Horten thus commissioned historian Prof. Dr. Peter Hoeres (University of Würzburg) to write a scientific report on Helmut Horten’s build-up of assets and business in the context of “Aryanization” during the “Third Reich.” The academic research carried out by Prof. Dr. Hoeres took place based on scientific priorities. The results show a differentiated picture of the businessman Helmut Horten and correct some rumors. The expert report was published on the website of the Chair of Modern History at the History Department of the Julius Maximilians University of Würzburg and is available here (German Version).

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Sparkling Royal Jewels From Around the World

Inside the Sparkling, Bejeweled World of Heidi Horten

05.31.2023 by thecourtjeweller // Leave a Comment

Earlier this month, the jewelry world was transfixed by the sale of the collection of Heidi Horten, the Austrian billionaire art collector who amassed an incredible bounty of jewels during her lifetime. Today, thanks to generous reader Thomas, we’ve got a peek inside one of the sale previews held by Christie’s before the auctions.

Born in Vienna in 1941, Heidi Jelinek was working at a law firm when she met Helmut Horten, the German owner of a large chain of department stores, while on a lakeside holiday in Krumpendorf in 1958. She was 17; he was 49. Eight years later, in 1966, they were married. The couple lived a life of immense wealth in Switzerland, sailing on yachts, hunting, donating money to favored causes, and collecting art and jewels. (The brooch she’s wearing in this photograph was purchased from Cartier in 1968 .)

Helmut Horten died in 1987, leaving Heidi with a fortune of more than a billion dollars. She married twice more and continued collecting. At various points, she owned both the Wittelsbach Diamond and Marie Antoinette’s Pearl Pendant . (The diamond was later sold, while the pearl pendant remains part of the collection on display at Horten’s museum, the Heidi Horten Collection in Vienna.) Horten passed away in June 2022, and Christie’s was tasked with handling the sale of hundreds of pieces from her dazzling jewelry collection.

The sale was not without controversy . Much of Helmut Horten’s wealth was built in the 1930s, two decades before he met Heidi, by acquiring assets sold by or taken from Jewish department store owners who were desperate to flee Germany. There were calls to stop the Christie’s sale entirely. Max Fawcett, the head of Christie’s jewelry department, stated, “We took on this collection in the understanding that 100% of the final sale proceeds will go to philanthropic causes. We cannot erase history—but hopefully the money from this sale will go to do good in the future.” The proceeds were earmarked to benefit children’s charities and medical research (but also to support Horten’s Vienna museum). Christie’s decided to donate “a significant contribution” from their cut of the sale to programs dedicated to Holocaust research and education.

Ahead of the auctions of the Horten jewels, which were held in Geneva, selected pieces from the sales went on display at Christie’s showrooms in Asia, North America, and Europe. One of our lovely readers, Thomas, viewed the collection at the showroom in Vienna, and he has kindly shared some of his photographs of the jewels with all of us.

Let’s start things off with a display of jewels acquired from Köchert, the Austrian firm that once served as court jeweler to the Habsburgs.

These earrings, purchased from the jewelry firm in 2018, are set with Burmese sapphires, diamonds, and cultured pearls. They sold for 327,600 Swiss francs , or around $360,000 USD.

This lovely bracelet, also from Köchert, features four rows of cultured pearls and white gold clasps set with pear-shaped and round diamonds.

The display also includes a demi-parure of jewels from Köchert. The yellow gold jewels are set with diamonds, sapphires, emeralds, and rubies. This is the necklace from the set.

And here are the coordinating fringe earrings from the suite.

The display also included one more pair of earrings from Köchert. These white gold chandelier earrings, set with diamonds, rubies, sapphires, and emeralds, were purchased in 2017. They sold for 252,000 Swiss francs , or approximately $278,000 USD.

Here’s a look at a display featuring sumptuous jewels set with emeralds and white and yellow diamonds.

This necklace, acquired from Bulgari in 2000, features emerald beads, both smooth and carved cabochons, as well as white diamonds set in yellow gold. It sold for a whopping 693,000 Swiss francs , or around $765,000 USD.

A coordinating pair of gold, diamond, and emerald tassel earrings, purchased from Bulgari in the same year, was also auctioned. The earrings sold for 81,900 Swiss francs , or around $90,000 USD (presumably to Queen Máxima of the Netherlands ).

The sheer number of sparkling yellow diamonds set in this yellow gold Van Cleef & Arpels bangle bracelet made snapping a clear photograph difficult. The bracelet, acquired in 1990, sold for slightly under its auction estimate , fetching 88,200 Swiss francs, or approximately $97,000 USD.

The display also featured a truly unusual ring. The ring, which has Italian maker’s marks , features a 3-carat pear-shaped yellow diamond set within a rectangular portrait-cut diamond. More yellow diamonds are set in the band of the ring as well.

Here’s another angle that shows the unusual setting of the ring. The piece sold for 126,000 Swiss francs , or about $139,000 USD.

Next is a case with three necklaces and a pair of earrings. First is an absolute classic: a three-row necklace of graduated natural pearls with a clasp set with two old-cut diamonds. (Looks quite a lot like some royal necklaces we’ve discussed recently , doesn’t it?) It was purchased from Köchert in 2021 and later shortened. The piece sold at auction for 151,200 Swiss francs , or around $167,000 USD.

These interesting pearl and diamond earrings were also acquired from Köchert in 2021. The large pear-shaped diamond drops weigh in at a little more than 5 carats each. The earrings sold for 428,400 Swiss francs , or approximately $473,000 USD.

Nearby was this yellow gold Bulgari necklace with a 6.01-carat heart-shaped diamond pendant. It sold for 226,800 Swiss francs , or about $250,000 USD. (Heidi Horton really liked this particular style. She also had a similar necklace with a station-style chain and a diamond heart , a Bulgari necklace with a heart-shaped emerald , a necklace with a heart-shaped sapphire and pink diamond accents , and a necklace with a pink diamond heart pendant , too.)

And then there was this spectacular Bulgari necklace, acquired in 2004, which is set with diamonds and features pendants of tumbled blue, pink, and yellow sapphires. It sold for 176,400 Swiss francs , or about $195,000 USD.

This case features even more jewelry from Bulgari, all set with diamonds and emeralds.

This three-stranded yellow gold necklace of diamonds and heart-shaped emeralds was purchased from Bulgari in 1993. It sold for 138,600 Swiss francs , or around $153,000 USD.

The necklace has a matching pair of earrings featuring more diamonds and emeralds, including additional heart-shaped stones. They fetched 69,300 Swiss francs , or approximately $76,400 USD.

The display also included a pair of Bulgari bangles, purchased in 1999. One of them, pictured above, is set with emeralds and yellow diamonds. It sold for 75,600 Swiss francs , or around $83,400 USD.

The other is set with emeralds and white diamonds. It sold for 88,200 Swiss francs , or about $97,300 USD.

Horten’s collection included lots of pieces of colorful jewels, including these two suites of jewels set with diamonds and semi-precious stones.

These are the “Gina” bangle bracelets from Marina B., a jewelry firm founded by Marina Bulgari in the 1970s. The bracelets, which were acquired in 1987, are set with diamonds, amethysts, citrines, blue topazes, and pink and green tourmalines in yellow gold. They sold for 138,600 Swiss francs, or around $153,000 USD.

These modern girandole earrings, the “Shrine” style from Marina B., are set with diamonds, aquamarines, amethysts, citrines, blue topazes, and pink and green tourmalines. They were purchased in 1986. At auction, they brought 107,100 Swiss francs , or about $118,000.

This suite of jewels, made by Tamara Comolli, is part of the brand’s Mikado Flamenco collection. The set includes a necklace, a pair of earrings, and a bracelet, all made of white gold and set with diamonds and tourmalines. The demi-parure was purchased in 2014-15, and it sold at auction as a set for 138,600 Swiss francs , or about $153,000 USD. (Horten loved this particular collection, too. She also owned similar suites set with tanzanites, amethysts, topazes, and peridots ; with cacholongs, turquoises, and carnelians ; with diamonds and moonstones ; with amethysts, green and orange garnets, peridots, blue topazes, carnelians, yellow beryls, green and pink tourmalines, sapphires, and diamonds ; with gold and turquoise ; with aquamarines and diamonds ; and with prehnites, chalcedony, and blue and pink sapphires .)

Here are more diamonds and emeralds, including several more pieces from Bulgari.

Christie’s dubbed this Bulgari necklace, which is set with pear-shaped diamonds and emeralds, “impressive.” Rightfully so—the largest diamond in the necklace alone is more than 12 carats. Acquired in 2002, the necklace exceeded its estimate, selling for 882,000 Swiss francs , or about $973,000 USD.

The matching Bulgari diamond and emerald bracelet sold for 195,300 Swiss francs , or about $216,000, and the coordinating Bulgari diamond and emerald earrings brought a whopping 214,200 Swiss francs , or around $236,000 USD.

And, of course, no great jewelry collection is complete without a massive (Christie’s says “magnificent”) diamond ring. This one features a 30.52-carat emerald cut diamond flanked by additional baguettes, all set in platinum. The ring was previously sold (presumably to Horten) at Christie’s in 2009 for 3,459,000 Swiss francs (about $3.8 million USD). This time around, it sold for slightly under the estimate, selling for 1,981,000 Swiss francs , or approximately $2.19 million USD.

This display features a suite of gold and diamond jewelry that was acquired in 1984 from Van Cleef & Arpels. The jewels were accompanied in the auction by original drawings from the jewelry house.

The set is part of the firm’s “Barquerolles” line. Here’s a view of the front of the necklace.

And here’s a view of the back of the necklace and the clasp. Christie’s notes that the necklace was extended in 2002. It sold at auction for 138,600 Swiss francs , or around $153,000 USD.

The coordinating gold and diamond fringe earrings exceeded their estimate, selling for 78,120 Swiss francs , or approximately $86,000 USD.

The set also features a pair of matching gold and diamond bracelets, which can also be joined together to make a choker necklace. They sold for 207,900 Swiss francs , or around $229,000 USD.

There were some seriously impressive sapphires on display as well. The ring pictured here is set with a luscious cabochon Sri Lankan sapphire that weighs in at 59.86 carats. It’s flanked with diamonds and set in yellow gold. The ring absolutely demolished its estimate, selling for 1,020,600 Swiss francs , or about $1.1 million USD. The bracelet in the background of the photo is a Bulgari piece, made of yellow gold and set with diamonds, emeralds, and a large cabochon sapphire. The sapphire was originally set in a ring that Horten acquired from Van Cleef & Arpels in 1977, and it was set in this new Bulgari bracelet in 1993. The bracelet sold at auction for 277,200 Swiss francs , or around $306,000 USD.

Bulgari also supplied these coordinating earrings, set with diamonds, emeralds, and cabochon sapphires, to Horten in 1995. They sold for 252,000 Swiss francs , or around $278,000 USD.

And finally, we’ll wrap up our tour of the sale preview with a look at even more diamond and emerald jewels, including a stunning necklace.

The gold and diamond Harry Winston necklace, called “The Great Mogul,” features a nineteenth-century carved emerald pendant. The emerald depicts a scene from the Ramayana , an ancient Indian epic poem. (Horten owned other carved gemstones as well, including this one .)

Horten acquired the necklace from Harry Winston in 1972. It sold at auction for an impressive 882,000 Swiss francs , or around $973,000 USD.

The Great Mogul necklace was displayed alongside this diamond and emerald bracelet. Christie’s notes that the bracelet has been “adapted” twice, by Harry Winston in 1984 and then by Bulgari in 2000. (It reminds me a bit of Elizabeth Taylor’s Bulgari emeralds .) The bracelet sold for 403,200 Swiss francs , or approximately $445,000 USD.

And finally, here are a pair of diamond and emerald earrings that coordinate with the bracelet. They were acquired from Harry Winston in 1971 and adapted by the same firm in 1984, and then adapted again by Bulgari in 2000. They sold at auction for 428,400 Swiss francs , or about $473,000 USD.

And that’s just scratching the surface of the jewels from Horten’s collection that were sold recently at Christie’s. You can view all of the lots from the three recent auctions— Magnificent Jewels I , Magnificent Jewels II , and an online sale —at the Christie’s website. And please join me again in thanking Thomas for sharing his photos from the exhibition!

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Tim Heywood's greatest superyacht designs

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Legendary superyacht designer Tim Heywood began his career in the seventies alongside fellow British designers Andrew Winch and Terence Disdale who learnt their trade under the godfather of modern yacht design Jon Bannenberg . Having worked with the celebrated designer for 20 years, Heywood eventually left to set up his own studio in 1996, a studio that produced some of yachting's most iconic designs that remain as fresh as the day pen was put to paper. As Heywood prepares to speak on his greatest hits and life under Bannenberg at the 2023 Superyacht Design Festival , we look back on some of his most memorable designs...

When the 147 metre Lürssen superyacht A+ , previously known as Topaz , was delivered in 2012, she was the fourth largest in the world and second largest yacht to be built by the German yard. She features Heywood's trademark sheer line that gently sweeps down to the stern, while a second curve runs forward towards the bow, the two converging on the main deck aft. A+ ’s vast 5,306GT interiors were designed by Terence Disdale , another legendary designer to have trained under Bannenberg, and can host up to 62 guests in 26 luxury cabins. 

Al Mirqab saw Heywood and his former colleague Andrew Winch team up for the first time - and was the first of many projects by the pair. But it is more than her design pedigree that makes this 133 metre icon a standout. Her size was formidable at the time of her launch, and to this day, she remains among the top five per cent of the largest yachts in the world. Al Mirqab was also the blueprint for a number of large-scale amenities. She is home to one of the largest spas afloat and was the first of its kind to feature an indoor pool and balcony terraces that fold down over the sea. Built for Hamad bin Jassim bin Jaber Al Thani, the former Prime Minister and Minister of Qatar, she is a family yacht at heart with a pirate-theme underwater playroom and a butterfly-themed family lounge overlooking the bow.

Carinthia VII

Carinthia VII was built for Heidi Horten, the widow of department store owner Helmut Horten. Lürssen had built her late husband's Carinthia VI and on a visit to the shipyard, she was permitted to peep at Tim Heywood’s preliminary drawing of the yacht that was to become Pelorus . The two share a raised forebody and reverse sheer, but Carinthia VII stands out thanks to her custom Awlgrip hull colour which was later dubbed 'Carinthia Blue'. Aiming for a profile that was as clean and uncluttered as possible, Heywood replaced the usual stanchions and handrails with glass bulwarks set in slim steel frames that do not catch the eye. Forward-facing windows in the superstructure are shaded by the characteristic brow that looks like the peak of a cap.

The World Superyacht Award-winning Ice was delivered in 2005 and was the first yacht to have Azipod drive units in place of conventional shafted diesels, keeping noise and vibration pollution to a minimum. Delivered in 2005 as Air , she was one of the first explorers with that classic forward set superstructure to make room for a helipad aft - carrying a Eurocopter EC135 helicopter. Constructed in steel and aluminium, the yacht boasts an interior of 3,268GT while her beam of 15 metres accommodates 14 guests.

Here Comes The Sun

Here Comes The Sun was the flagship of Amels when she left the Dutch shipyard in 2016. Heywood and Winch had worked together on a number of Amels Limited Editions vessels and it seemed only natural for the pair to reunite for the largest in the series to date. One of the major changes from her smaller siblings was the beltline’s angle of descent. “It’s a more gentle curve, swept right the way round the back and into the stairwells and back outside of the stairwells, round the swimming pool,” said Heywood. Here Comes The Sun measures 83 metres and packs in 2,827 gross tonnes of volume (compare that with 99 metre Madame Gu ’s 2,991GT and 95.2 metre Kismet ’s 2,700GT). She recently completed an extensive 16-month refit that added an extra six metres added to the overall length.

Heywood’s curving exterior lines are again on display on the 74 metre Plvs Vltra , which was launched in 2016 as the first Amels Limited Editions 242 yacht. At the time of her delivery, Heywood said of Plvs Vltra : “[It’s signature look] is strong and functional, complementing the flowing lines very well which I would describe as athletically feminine. I must admit, these curves are not necessarily the easiest forms to build, but Amels rose to the challenge.” Jet black paint between Matterhorn white decks gives the exterior a healthy dose of individuality. “I added those curving black jet highlights to echo the curve of the wing station and then reversed it in the superstructure,” Heywood continued. Seven Limited Editions 242 models have now hit the water with an eighth on the way.

Planet Nine

Planet Nine is the former flagship of Admiral Yachts and was built for heli-skiing adventures in higher latitudes. The owner had seen Heywood's work on Ice which formed the starting point for this similarly capable explorer. She’s undoubtedly a capable yacht but to characterise Planet Nine as an explorer alone is to do her a real disservice, according to Heywood. “ Planet Nine displays a constant state of great comfort and elegance,” he said in an interview. “The fact that she is wrapped in an ice-class hull only adds to her luxury.” The superstructure is a relatively modest three-storey affair, but huge volume has been created within the hull’s tall topsides. Nearly the entire main deck above is given over to the owner’s suite which total 250 square metres. Other highlights include an observation lounge, two lifts and a boot room beach club.

The 2023 Superyacht Design Festival will return to the Italian town of Cortina d'Ampezzo, in the heart of the Dolomitic Alps, on February 8-10. This event will bring leaders of the superyacht industry and guests from the luxury community together for a thought-provoking and entertaining event that celebrates the world of design through innovating discussion and exclusive network opportunities. Tickets are on sale now .

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