Cruise & Ferry Interiors 2020

1 4 KEYNOTE working with them on vendor selection, product quality, shop drawings and the budget for each line item by venue.” Swann points to the experience of building Celebrity Edge. “I visited Milan six times to see and test chair prototypes and members of my team made many more visits than I did,” she says. “It took over a year to go through all of the products that we eventually selected for Edge. We don’t leave anything to chance.” Revitalisation projects take a different approach. ”Fleet modernisation programmes are deeply managed internally – we have key relationships with dry docks, designers and outfitters and all of the procurement work is through our department,” Lang explains. The corporation takes a similarly fastidious approach to every new partnership, as Lang explains, “We’re thorough because we’re looking for long-term partnerships and we invest heavily in onboarding new people and companies because it’s essential that every member of the team understands our brand, our market segment, our audience and our vision.” New design partners are expected to get to know the brand intimately. “Our brand book shares important information but spending time on our ships is a key onboarding component,” explains Lang. “Personal research and talking to different stakeholders within the company gives a more rounded personal experience to inform good design.” Appreciating the team dynamics is another shift up the learning curve. “On Edge, we defied our historical formula to recruit designers that were new to marine and new to our group. Typically we’d look for a team that comprises one-third foundation, one-third evolution and one- third revolution,” explains Swann. “We probably hit 80 per cent revolution for Edge. We often find that if you bet big, you get big!” All big build projects have challenges relating to the scale of the task. “The complexity of a cruise newbuilding Giovanni’s Kitchen and Wine Bar provides an authentic dining experience onboard Odyssey of the Seas