Her shipyard Mondomarine launched her just a few weeks ago. Now the first of the M50 series and the 64th yacht from the Savona-based shipyard, which was founded in 1915, is attracting attention in Monaco. We approach "Ipanema" full of expectation, which - even moored up - looks as dynamic as it does at full speed with its fast lines and bright red paintwork. In keeping with the speed design, the Italians made the hull and superstructure from lightweight marine aluminium.
This keeps the semi-glider just under the 500 gross tonne limit. In functional terms, this not only saves fuel thanks to its low weight, but also extended crew and equipment conditions, patents, radio and other features. And even if speed records are not set in favour of efficiency, "Ipanema" achieves a respectable cruising speed of 17 knots thanks to two MTU 16 cylinders from the 2000 series with a combined output of well over 4000 horsepower. According to the shipyard, a transatlantic range of 3500 miles is possible at twelve knots.
The LaFerrari super sports car, which is already sold out and traded among collectors for several million euros, may not get nearly as far on tarmac, but it has other qualities. The gullwing from Maranello accelerates to 100 km/h in less than three seconds, and with its top speed of over 350 km/h, it deserves a place of honour in the exclusive club of the fastest road-going sports cars.
Even if the technical data of the car and yacht are of course not comparable, the current Ferrari top model played an essential role in the design of the exterior of "Ipanema": "It had to be an aggressive exterior with perfect proportions and exactly this shade of paint," says Antonio Romano, one of the three founders and partners of the still young Hot Lab design studio from Milan, which was only founded in 2004, describing the Middle East owner's colour request with his passion for Ferraris.
The 6.80-metre-long guest tender in the lazarette under the upward-opening tailgate is also colour-coordinated with the mother ship. Although this leaves no room for a beach club in the nine-metre-wide hull with a draught of 2.30 metres, the bathing platform should appeal to water sports enthusiasts. It is hardly surprising that the speed-enthusiastic owner carries various toys on board. Three water bikes play an important role here, and when not in use, they are given a prominent place aft on the upper deck. The Sundeck is reserved exclusively for hosts and guests. In addition to a sunbathing area, it offers an impressive Jacuzzi with a view ahead, a central bar and an al-fresco dining area under the protective hardtop.
As on many yachts of this size these days, "Ipanema" also offers additional seating and lounging options in the form of two sofas one deck down in front of the bridge. There we enter the air-conditioned interior of the yacht, where digital
state-of-the-art technology frames a traditional steering wheel. The captain's cabin was appropriately dimensioned by the Hot Lab designers and positioned directly behind the helm. The other crew members sleep in five cabins as usual on the lower deck in the bow.
However, Hot Lab chose an unusual solution for the rest of the layout on the upper deck: amidships, separated by a central corridor, are two staff cabins, each with a single bed and a shared bathroom, suitable for the owner's business staff or pilots. According to the shipyard, it has not yet been decided how they will be used. In contrast to the modern exterior, the designers created a very opulent interior with a mix of classic Italian, French and English styles. "The owner knew exactly what he wanted," says Antonio Romano, explaining the extravagant opulence. "It was a challenge for us. During the design process, we had to go through books again and again to study the historical elements of the styles, colours and shapes the owner wanted." There is no doubt that this interior design remains a question of personal taste, and in the case of "Ipanema" it shows the courage to be dramatic.
The quality of the materials used and their processing is beyond criticism, regardless of the excessive design furore. Eight types of marble alone were used. These were joined by onyx and mahogany for the furniture, ceiling and wall panels. The walls can also be covered with cascades of fine fabrics from the traditional companies Rubelli and Sanderson made from exactly 33 different weaves. In contrast, stylised torches are almost boring as a repetitive element. At first glance, the huge curved TVs in the cosy sky lounge and in the large saloon on the main deck with the dining table for ten to twelve guests don't quite fit in with the furniture's concentrated stylistic will, but their format alone is part of the universal glamour of the interior. The same applies here: thinking small is poor.
In addition to the racy styling of the "Ipanema" exterior, the designers at Hot Lab not only ensured that the rooms had an almost fairy-tale-like, appealing oomph, but also planned their layout, sizes and positions. As usual, Romano, his partners and staff gave the owner's suite at the front of the main deck the full width of the widebody.
We enter this refuge, which is of course also trimmed for splendour, through a small office. The large windows provide plenty of natural light. The spacious bathroom with XXL shower and central bath is flanked by a walk-in wardrobe. On the lower deck, the four guest cabins take their rightful place between the engines and crew. They are all equipped with single berths. The owner had Pullman beds added to two of these accommodations. Here too, Hot Lab implemented the owner's style and gave each cabin its own colour scheme: yellow, pink, green or blue. "Ipanema" therefore provides strong contrasts and surprises everywhere. Within 22 months, Mondomarine has created a very colourful work of art that may not delight every guest, but certainly pleases its owner one hundred percent: the sense of waste. And as always, the maxim of the industry also applies to "Ipanema": if the owner is happy, everyone can be happy.
Authors: Christian Sauer, Friedrich W. Pohl
