Finding fabrics and textiles for the variety of onboard spaces and functions within them is becoming an increasingly demanding exercise for the teams of suppliers tasked with designing for the cruise industry.
Durability, style, safety and changing trends must be factored into decisions on fabrics in everything from floor coverings to furniture and finishing touches.
Alongside appearance and functionality, compliance with the International Maritime Organization’s safety regulations is an essential element to be checked off. Cruise lines need fabrics to meet IMO fire retardancy (FR) regulations, but how does this affect the range of choice and do these requirements mean any compromise in style?
Partner Ship Design (PSD) senior partner Kai Bunge says: “Owners require the use of incombustible and certified fabrics in excess of the SOLAS requirements, which limits the range of fabrics but the industry today has adapted to that and provides a very good range of designs, structures and colours in certified quality. However, for bigger quantities we work with manufacturers on specially designed fabrics in certified materials to ensure we can deliver unique designs to each of our clients.”
McVitty Interior Consultants director Alan McVitty says: “The last few years have seen many changes in the legislation regarding fire and safety for IMO fabrics. Textile design companies have woken up to the business available from marine interiors and are increasingly developing IMO ranges based upon their high-end residential fabrics. These are often coated with an applicable FR layer, or the yarns are treated before being woven into fabric. Either way, the result is a much wider and more innovative range of fabrics that can be now used on cruise ships.”
Agua Fabrics commercial director Robert Walton agrees, but adds that designers need to consider outdoor textiles too: “Most designers maintain fabric libraries with specific sections for those that meet the IMO requirements in fire retardancy for interior fabrics, but often do not consider this requirement for exterior material until after projects have been specified.”
A growing demand for deck areas to be integrated into interior schemes has meant an increase in the use of fabrics facing up to outdoor elements. Bunge says: “As outdoor areas have become more and more decorated on cruise ships, the use of fabrics and upholstery on open deck spaces such as pool decks, sun decks, balconies and lanai decks has increased a lot. Due to the exposure to environmental stress these fabrics have to withstand humidity, high temperatures and radiation.” Walton adds: “Exterior fabrics need to be resistant to ultra-violet light, sea water, chlorine water, fungal growth and suntan lotions, as well as being durable, easy to maintain and comfortable for the user.” So the need for durability is ever important, but not at the expense of design. Walton continues: “The creation of more indoor-outdoor spaces means a more design-orientated approach to outside spaces and the fabrics used in these areas. While there will always be a demand for traditional poolside sun lounger fabrics, there will be a shift to contemporary colours and designs in those areas, that are closer to those in interior lounges.”
When it comes to individual cruise lines, clearly meeting the brief is a given, but how do designers approach achieving style for their ocean-going clients?
Of PSD’s work with AIDA Cruises, Carnival Cruise Line, Hapag-Lloyd and Arosa River Cruises, Bunge says: “We follow the principle ‘form follows function’ and therefore give a high priority not only to the function of an area, but to each and every detail, including the wear and tear of any material selected, as excellent durability and stain resistance matters a lot to our clients. Interesting structures and a range of lively colours is important for the designer to be able to make use of the fabrics onboard a passenger vessel, because we have to create inspiring and relaxing environments to provide a splendid atmosphere for an exceptional holiday trip.
“Style and appearance naturally differs between the brands and to design to the individual briefing and requirements is of highest priority to us, so to deliver individual designs we work very closely with the industry and weaving mills. Their expertise and flexibility are of great importance to our work.”
Fredrik Johansson, partner and senior architect at Tillberg Design of Sweden, agrees that the relationship with suppliers is crucial. The company recently completed design projects on Norwegian Cruise Line’s newbuilds Breakaway and Getaway, and Disney’s Dream and Fantasy, while refits include Cunard’s Queen Mary 2, TUI Cruises’ Mein Schiff 2 and Costa neoRomantica. He says: “We have built up a huge and unique conceptual atelier, stocked with well-tested materials from trusted suppliers all over the world, which means we can specify everything from reliable sources that we know deliver what it takes in the marine industry.”
Having finished the refit of the three Windstar yachts – Windstar, Windspirit and Windsurf – McVitty says: “Budget constraints are always a key part of managing a commercial project. As important as the look and feel of a product is the need to balance budget and quality as key priorities.” Where possible, the firm tries to restore quality materials that can be re-polished, re-stained and updated, with the emphasis on sourcing timeless pieces in beautiful finishes and that comply with all marine regulations. McVitty says: “This can often be challenging, but we have a wide supplier knowledge base to draw from and although we cannot always produce custom fabrics and textiles due to smaller quantities on a project, we need to keep abreast of the latest fabric collections. To ensure we have the edge on our competition, it is vital we know what is new and available within the market.”
An example is McVitty’s use of fashion lifestyle brand Allegra Hicks’s range of cut velvet fabric in accent cushions on Windstar, for adding texture and glamour. To balance price with appearance, the company often plays with styling each piece of furniture individually. McVitty says: “To achieve this we may pair a top-end priced fabric to the face of a chair and a more competitively priced back of chair. When designing for commercial projects it is vital to select products which are fit for purpose but still have the design aesthetic.”
Johansson continues: “As cruise industry interiors feature rather busy patterns for maintenance reasons, we often try to adjust the choices towards a more stylish and elegant direction where feasible, but of course the trick is to manage the difficult balance between maintenance and elegance. Our experience is that – especially in the refit of a ship that looks tired in places – it’s often better to tweak the colours a bit more towards the vivid. Once fabrics and carpets have been used for a time they fade, while onboard PL lighting also dulls the colours down a tad or two. Using fresh colours and crisp patterns to add more contrast gives any ship a ‘vitamin injection’ and means the results last a bit longer.”
Walton says: “Interiors fabrics need to be practical and easy to maintain, yet deliver the style and comfort associated with a ‘hotel’ environment. Modern technologies enable suppliers to offer fabrics that are impervious while maintaining the look and feel of a regular fabric. This helps to maintain the appearance and the longevity of the furniture.” However, Walton believes cruise lines are missing a trick. He says: “In addition, fabrics can be made anti-microbial and greater consideration should be given to the use of these to help reduce the risk of cross-infection when an outbreak occurs on a ship.” With onboard outbreaks hitting the news headlines recently, it appears he has a salient point.
This is an abridged version of an article that appeared in the Spring 2013 edition of Cruise & Ferry Interiors. To read the full article, you can subscribe to the magazine in printed or digital formats.