How do you become a nautical designer?
I have a totally atypical background. I'm a top athlete. I did an Olympic preparation in 470 in La Rochelle, but I also did basketball and high level athletics. As for sports, I touch everything.
On the study side, I started with a Master in Sport Ergonomics. For my thesis, I worked with the Ecole Nationale de Voile (ENV) in Quiberon to develop a trapeze belt. With this project, I realized that I was more interested in designing the product than testing it. And I went to a design school.
On leaving, I worked in the 360 agency in Toulon for 2 years. It's an agency that works on sports equipment. But I wanted independence so I set up my own business.
I try to work on many subjects, to have multiple sources of inspiration and not only to lock myself in the design of the boat.
How did Christophe Barreau call on you?
It was the passion for cheese that brought us together I make cheeses for my pleasure and I had indicated it on a CV that I sent to Christophe. He offered to meet us. And in PS of his answer, there was"I too thought about making cheese...". It quickly bonded between us. He was looking for someone to develop the interior of TS 42. That was three years ago.
And since then you've been working on the EOS 54. How's a project like this going?
Initially the client, architect and designer work together to determine the client's wishes. The architect draws according to the boat's programme and I try to imagine the"art of living" in this boat.
Depending on the wishes of the client, I do not draw at the beginning, but proposals for the distribution of space. I put up partitions. There is a lot of going back and forth with the architect who must also apply his structural constraints.
At this stage, meetings are big brainstormings with several thinking heads reacting.
But when do your first drawings come?
Once the distribution of the structures and partitions is determined, I begin to draw the furniture. Now I'm in a pure design phase. On the EOS 54, for example, light furniture was needed for rental. These constraints require taking into account materials, usage and ergonomics to meet demand. At this stage, I also work with the site to see what is feasible in terms of cost and technique, but also hours spent for the site and durability.
The design I make really goes into detail: songs, seams, fabrics... I meet all the people who will work on the boat to exchange with them on their know-how and make the most of them.
So you're here the whole time?
Especially at the end, I'm on the boat a lot. I do a kind of site follow-up. For example, to work with the electrician for the choice of the locations of the light points or for the number and position of the sockets. Throughout the construction, I deal with different referents with whom I discuss and negotiate.
How long does a project last for you? And who finances it?
I've been working on the EOS 54 for two years. It is important to intervene at the first discussion with the client to meet him at the source, to read between the lines and decipher his desires. A successful project is spread over time.
The service is paid for by the client. Sometimes it is integrated into the architect's share following the financial arrangement. And if other sister-ship boats are produced - and provided they use my interior design - I am paid with copyright.
