Theoretically, if you have a traditional exterior, you would have a traditional interior. For example, a 1928 classic yacht would probably have a period interior to suit. What you are comfortable with on the inside is not necessarily what you are comfortable with on the outside. Cars are a good example of that: You might like leather and a token amount of wood on the inside, and sharp styling on the outside. So, to give you an example, I designed the interior of the Mari-Cha III, a monohull ultrafast cruising yacht with a Philippe Briand naval architecture and exterior styling. The outside was super slick; initially I did not think a traditional interior would fit. The result, however, was spectacular. The exterior is a slick working machine, and the interior is a calming, classic environment.

Designers of yacht interiors must interpret their designs for a marine environment, accommodating watertight compartments and strange angles. How do these requirements limit or enhance your designs?

I don’t find it limiting at all. You fit around structure and you fit around shape. I like cambered deckheads [a slightly curved ceiling that relates to the deck above]. Looking back, I consider how the craftsman in the past would have built it. It is good that the structure of the boat tends to show through and be incorporated into the interior design.

You are known for working with wood. What does wood bring to a design or an artistic vision that other materials lack?

Immediate warmth. It is very tactile and has that comfort factor, which is something that people can relate to very easily. The mahogany paneling in many of my traditional yacht interiors provides a fantastic background for the presentation of art and personal decoration.