Text by Dario Schiavo, Martin Hager
There are design firms that can be recognised by their distinctive style. Cristiano Gatto’s is not one of them – and that is precisely the intention. For 25 years, the relationship between the Venetian studio and the world of superyachts has been evolving with unwavering consistency: The passionate designer with a clear vision has built up an internationally recognised creative powerhouse that delivers fully integrated, end-to-end solutions in the most demanding segments of contemporary yacht building. BOOTE EXCLUSIV met Cristiano Gatto during a rare quiet moment between shipyard visits, intercontinental journeys and overlapping deadlines.
Three locations, one philosophy
The company now operates from three strategic locations: Venice, where its cultural and conceptual identity remains firmly rooted; Dubai, which provides access to the dynamically growing luxury market in the Middle East; and Fort Lauderdale, as a crucial link to the American yachting sector. Gatto emphasises that this geographical structure is not the result of organic growth, but rather a deliberate operational vision. He wishes to remain physically and strategically close to shipyards, owners and decision-makers. In an environment where proximity to clients is particularly valued, and where coordination and timing are just as important as design, Gatto does not regard this as a luxury – for him, it is a necessity.
There are currently 18 projects running in parallel, spanning superyachts and luxury residences across Europe, the Middle East and the United States. The sheer number is remarkable. However, what truly characterises this busy phase is the complexity inherent in every single project. This is because his design work is aimed at a market that is moving inexorably towards absolute precision and complete process control, leaving hardly any room for improvisation.
Venice shapes Cristiano Gatto’s design philosophy
Gatto’s design philosophy has been, and continues to be, fundamentally shaped by Venice. “Venice teaches us that space is never neutral,” he explains. “It is always something you experience, not something you merely construct.” He grew up amidst the interwoven architecture of the lagoon city, where water, stone and light constantly redefine our perception of space. Gatto developed an instinctive sensitivity to the fact that forms can also be perceived atmospherically and that proportions can be perceived as an emotional rather than a mathematical state. Furthermore, he came to see material as something that changes over time. These principles continue to guide him to this day: interiors are conceived as living environments, defined by transitions, reflections and subtle spatial tensions – as if the spaces were in a permanent state of slow transformation, never in a state of final completion.
Unlike many contemporary design studios, which rely on a recognisable aesthetic as their trademark, Cristiano Gatto Design deliberately avoids the concept of a fixed style. Each project is an autonomous narrative, shaped by the client’s identity, wishes and lifestyle. “We don’t apply any specific templates – we design each project from scratch,” says Gatto. Consistency arises not through the repetition of forms, but through a disciplined methodology: the rigorous control of proportions, a deep engagement with materials and an almost forensic attention to detail, which ensures coherence even without visual repetition.
From design studio to turnkey partner
This methodological clarity has become increasingly important as the studio has matured into a structured, globally active organisation with 27 permanent staff – architects, interior designers and project managers. The in-house team is complemented by a global network of consultants, engineers and tradespeople, enabling the studio to dynamically adapt its capacity to the complexity of each commission without losing its design focus.
In recent years, this development has led to a far-reaching strategic transformation: Cristiano Gatto Design now operates as a full turnkey partner and frequently takes on the role of owner’s representative. Its responsibilities extend far beyond traditional interior design to include financial management, contractual coordination and technical supervision. From the initial feasibility concept right through to handover at sea. “Control does not mean restricting creativity,” emphasises Gatto, “but ensuring that what has been designed is actually built.”
Northern Precision: Heesen and Van der Valk
Nowhere is this integrated approach more evident than in the studio’s collaborations with leading Northern European shipyards, in particular with Heesen Yachts and Van der Valk Shipyard in the Netherlands. At Heesen, the focus is on semi-custom yachts, where highly optimised marine engineering sets a defined technical framework within which interiors must be reinterpreted and developed into fully bespoke environments – without compromising structural integrity. For Gatto, this interplay between technical constraints and creative expression represents the core of modern interior design.
With Van der Valk, the collaboration often begins much earlier. Exterior design and spatial planning are developed simultaneously, in a fully synchronised workflow that breaks down traditional boundaries between the disciplines. Structural details and aesthetics evolve together from the very first sketch. An exciting example of this approach is “Shine”, a 40-metre-long bespoke vessel currently under construction at Van der Valk’s shipyard as a dialogue between structure, function and layout.
At the same time, highly refined projects are taking shape at Heesen: a 50-metre yacht nearing completion demonstrates how a semi-custom platform can be transformed into a fully personalised spatial experience without compromising technical efficiency. It goes even further Project Setteesettanta, a 57-metre-long bespoke yacht, for which Cristiano Gatto Design is acting as both interior designer and the owner’s representative. This dual role is intended to ensure the continuity of the design vision throughout all phases of construction and to allow the design to evolve organically, rather than being set in stone at an early stage. In this way, the yacht itself becomes a living project.
The studio’s focus on the 40- to 60-metre segment has, almost incidentally, made it a leading name in the 50-metre class – a segment that demands a particularly delicate balance between spatial ambition, technical feasibility and operational efficiency, and in which it is not the grandeur of the ideas but the precision of their execution that determines quality.
Movement in the semi-custom segment: Gulf Craft
In addition to its partnerships in Northern Europe, the studio maintains a further active presence in the semi-custom market through its collaboration with Gulf Craft. Platforms such as the Majesty 145 and Majesty 160 require a form of smart design that works within an industrial framework whilst still achieving a high degree of customisation. These projects highlight the studio’s methodological flexibility across both bespoke and mass-produced projects, and consolidate the studio’s position in several market segments simultaneously.
Architecture, craftsmanship and human perception
Architecture: the same language, new typologies
Beyond the world of yachting, Cristiano Gatto Design has significantly expanded its scope into architecture, applying the same integrated approach to large-scale residential and commercial projects. Projects such as the Platnara restaurant in Belgrade illustrate this approach: gastronomy, atmosphere and material compositions are conceived as a unified sensory system that gradually unfolds through light, texture and spatial rhythm. The Hilton Hotel Belgrade takes this language a step further on an architectural level, with human movement, perception and well-being as the central design parameters.
Craftsmanship as a tool for innovation
Across all typologies, craftsmanship remains a structural foundation rather than a decorative element. Each project involves a carefully selected network of specialist craftspeople from several countries, working in highly specialised areas such as wood inlay, metal detailing, textile development and sculptural surface treatments. This broad approach is intended to enable a degree of individuality that industrial standardisation can never achieve. Traditional techniques are not viewed as a form of nostalgia, but as a forward-looking design tool that generates innovation through material intelligence and technical experimentation.
Putting people first
Despite its size and international reach, Cristiano Gatto runs his studio with a personal ethos: the relationship with the client is always at the heart of everything. Every project begins with an extensive phase of dialogue and listening before any formal design process even begins. “Understanding always comes before designing,” emphasises Gatto, convinced that architecture and interiors arise from a deep consideration of human needs, desires and behavioural patterns – and not from an abstract aesthetic imposed from the outside.
Spaces are conceived as sequences of experiences, shaped by transitions in light, materials and proportion – and increasingly enriched by scent, acoustics and tactile variation. And this precisely reflects a broader trend in luxury design towards fully immersive environments that engage the user on multiple sensory levels simultaneously.
Book recommendations
Dream Yachts brings together 18 classic yachts, their striking lines and the stories behind their owners. This illustrated book demonstrates how character, craftsmanship and a clear design language can shape yachts over the decades. The numerous photographs also offer inspiration for readers interested in yacht aesthetics and maritime style icons.
Yacht design focuses on the designers behind famous sailing yachts and their designs. Unlike the portraits of individual classic yachts, the focus here is on the design work itself: the lines, the choice of materials and the designers’ ideas.
Does outstanding yacht design require a recognisable signature style, or should each design be shaped exclusively by the owner and their intended use? Share your views in the comments.
Martin Hager
Editor in Chief YACHT