From formal to barefoot: the new philosophy of luxury yacht design at Azimut

How did the idea of “barefoot luxury” emerge in the design of the new Grande Series?

Bonelli:  “Barefoot luxury” is something we’ve been circling instinctively for years, but the Grande Series gave us the opportunity to finally name it. It emerged from our shared desire to strip luxury back to something more human—less about display and more about how a space makes you feel. It’s the feeling of walking barefoot on warm wood, of light touching matter softly, of technology disappearing into the atmosphere. Grande Trideck became the first real expression of that philosophy at sea.

Radović: This idea is also deeply connected to how people live now. Owners want elegance, of course, but without stiffness. They want beauty that feels instinctive, not intimidating.

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What defines ease and authenticity in the context of yacht design?

Radović: For us, authenticity begins with flow—how you move through space without thinking about it. On a yacht, that becomes even more emotional because the environment is constantly changing. Ease is when architecture supports that movement quietly, without calling attention to itself. No visual distractions. No forced gestures.

Bonelli: Authenticity also comes from material honesty. When something looks like stone, it should feel like stone. When something is structural, it should behave structurally. We don’t believe in decoration for its own sake. The yacht should feel like a natural extension of life, not a stage set.

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How does your approach blur the line between home and yacht? What do today’s owners seek emotionally in their spaces at sea?

Bonelli: We design yachts the same way we design homes: starting from soul, not function. Today’s owners are not chasing status—they’re chasing presence. They want to disconnect without feeling displaced. The yacht becomes a floating refuge, a villa at sea.

Radović: That’s why we work so much with layers, thresholds, and soft transitions. On the Grande Trideck, the Sky Lounge feels almost like a veranda, the Owner’s Suite like a private residence rather than a cabin. You forget you’re “on a yacht,” and that is exactly the point.

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Which materials or spatial ideas best embody this shift?

Radović: Natural materials are fundamental—warm woods, tactile fabrics, stone with subtle movement. But just as important is how we compose space. The layered partitions in the Owner’s Suite, the floating fabric ceiling in the Sky Lounge, the sculpted chaise that follows the curve of the sea—these are gestures of softness, not authority.

Bonelli: And of course, the Unveiling Wall is a perfect example of this philosophy. It hides technology behind architecture. It transforms throughout the day with light and shadow. It whispers luxury through its ability to evolve with the day and mood.

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How does sustainability influence aesthetic decisions? Does it change how “luxury” looks and feels?

Bonelli: Absolutely. Sustainability today is not a constraint—it’s a filter. It forces you to edit, to choose with intention. That alone changes how luxury feels. It becomes lighter, more precise.

Radović: Luxury used to mean accumulation. Now it means responsibility. It means fewer materials that are better sourced. That aligns perfectly with our idea of “less is enough.” When sustainability is embedded properly, it doesn’t announce itself—it just feels right.

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What inspires the interplay between technology and tactility onboard?

Radović: We see technology as something that should serve emotion, not dominate it. On the Grande Trideck, innovation is everywhere—but you almost don’t notice it. It’s behind fabric, behind wood, inside architecture.

Bonelli: We are inspired by cinema, actually. The idea of reveal, of hidden mechanics, of transformation. The Unveiling Wall is very theatrical—but the technology disappears once the moment has passed. What remains is the atmosphere. Tactility anchors you in the present. Technology simply supports that experience.

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What does Italian design bring to the idea of “barefoot luxury”?

Bonelli: Italy brings culture, memory, and craftsmanship. There is an instinctive understanding here of proportion, of restraint, of sensuality in materials. Italian design is never cold, even when it’s minimal.

Radović: Italian “luxury” has always been about lifestyle, not image. Dining, light, conversation, texture, ritual. “Barefoot luxury” is deeply Italian in that sense—it’s about living beautifully without shouting. About elegance that feels natural, not constructed.

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