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    Watch a talk on designing better kitchens with Gaggenau at Milan design week

    Dezeen hosted a live talk on designing kitchens that form the hub of the home with Yabu Pushelberg and Andrea Molteni, live from Gaggenau’s showcase at this year’s Milan design week.

    Moderated by Dezeen’s editor-at-large Amy Frearson, the talk explored the role that the kitchen plays in the contemporary home, innovations in kitchen design, and how designers can foster a positive home culture through creating better kitchens.
    The panel featured George Yabu and Glenn Pushelberg, co-founders of design firm Yabu Pushelberg, and Andrea Molteni, vice president at his family firm Molteni&C and director of product development at its sister kitchens brand Dada.

    Watch a talk exploring sustainability and longevity in design with Gaggenau at Milan design week

    As part of the talk, Yabu, Pushelberg and Molteni offered an exclusive look at Tivali, a new kitchen design project on which they have collaborated.
    The talk took place in the conservatory of Milan’s historic Villa Necchi Campiglio, where the brand has created a 360-square-foot interactive installation called A Statement of Form to showcase its highest-grade appliances.

    George Yabu and Glenn Pushelberg are co-founders of design firm Yabu PushelbergCanadian designers Yabu and Pushelberg founded Yabu Pushelberg as an interior design firm in Toronto 1980 after graduating from the School of Interior Design at Ryerson University, where they studied together.
    The studio has since expanded its remit to include architecture, product design, landscape design, lighting design, branding and graphics. The pair established a second office in New York in 2001. Last year, Yabu Pushelberg won the public vote Dezeen Award for Design Studio of the Year.
    Andrea Molteni is vice president of Molteni&C and director of product development at DadaMolteni is vice president of Molteni&C, a classic Italian design brand founded by his grandparents Angelo and Giuseppina Molteni in 1934.
    Molteni&C’s range of furniture includes a number of well-known 20th-century pieces designed by Italian architect Gio Ponti. Amongst the brand’s more recent product ranges are collaborations with names like Norman Foster, Patricia Urquiola and Jean Nouvel.
    The talk was the second in a series of three hosted by Dezeen in collaboration with Gaggenau running 7-9 June, which are all moderated by Frearson.
    The talk is held at Milan’s historic Villa Necchi CampiglioDuring the first talk, which took place yesterday, designer Søren Rose, BIG’s director of interiors Francesca Portesine, and Foster + Partners’ head of industrial design Mike Holland discussed sustainability and longevity in design.
    Tomorrow, Design Haus Liberty founder Dara Huang and architect Michel Rojkind of Rojkind Arquitectos will feature in a talk on how their practices have changed over the course of the pandemic.
    A Statement of Form is on show between 7-11 June during Milan design week, daily from 11am to 5pm. To visit, register at www.gaggenau.com.
    You can watch all the talks live on Dezeen here.
    Milan design week 2022
    A Statement of Form is part of Milan design week 2022, which takes place from 6 to 12 June 2022. See our Milan design week 2022 guide on Dezeen Events Guide for information about other exhibitions, installations and talks taking place throughout the week.
    Partnership content
    This article was written by Dezeen for Gaggenau as part of a partnership. Find out more about Dezeen partnership content here.

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    Bethan Laura Wood wraps boudoir in swirling marble-like pattern

    A psychedelic print in summery shades adorns the walls, bedspread and furniture inside Summer Room, an installation at Milan design week by British designer Bethan Laura Wood.

    Wood created the site-specific installation inside the art gallery Nilufar Depot as a reference to Ornate, a furniture exhibition set inside a boudoir that she debuted at Milan design week 2021.
    Wood has installed Summer Room inside Nilufar Depot”Summer Room is a continuation of the solo show Ornate that I had in September,” Wood told Dezeen.
    “I wanted to show the Ornate project in a very different environment. I specifically picked colours and added in a lot of yellow and greens to kind of have this kind of sugar summery colour tone which is slightly different,” she said.
    The living room and bedroom are furnished in a psychedelic printThe living area is wrapped in Wood’s new design Endless Meisen – a looping repeat pattern made from high-resolution scans of bespoke Alpi Wood veneers.

    This pattern was then used around the two-roomed interior to upholster bedding, cushions and also furniture such as the desk and shelving unit.
    The bedspread is covered in the same bold patternVisitors can wander from the living room through to the boudoir – the traditional term for a woman’s bedroom or private interior space, in another nod to the Ornate exhibition.
    “In here we wanted to play with what it looks like in a much more enclosed space, and with a much darker background behind aluminium so that it really kind of pops in a very different way,” she explained.
    New objects installed in the maximalist space include Temple Panda wall sconces, while a wiggly headboard above the bed is among previously featured items.

    Bethan Laura Wood’s Ornate exhibition features furniture informed by boudoirs

    In the corner of the living room is a new piece called Trellis Column, a hanging light that Wood designed to recall the metal structures often found behind traditional lighting fittings.
    “When I visited factories like Venini or these old school glass houses, a lot of the armature behind the light fittings is something I’ve always found really beautiful,” she said.
    “I really wanted to make a project where the armature and the decoration were more in conversation rather than the decoration [alone].”
    Wood has displayed a hanging light called Trellis ColumnNilufar Gallery showcases existing and new pieces by 24 other designers selected by Nilufar’s gallerist Nina Yashar, who founded the centre in 1979.
    Other projects by Wood include an installation of giant canapé-shaped sculptures and a group exhibition that explores the friendships between designers.
    Photography is courtesy of Nilufar Gallery.
    Summer Room is part of Milan design week 2022, which takes place from 6 to 12 June 2022. See Dezeen Events Guide for information about the many other exhibitions, installations and talks taking place throughout the week.

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    Sarah Poniatowski designs teal and teak indoor-outdoor bathroom for Axor

    Promotion: interior designer Sarah Poniatowski has drawn on her connection to the French seaside to create a tranquil bathroom concept for Axor combining teal tiles, teak wood and bronze fittings.

    Poniatowski, the founder of Maison Sarah Lavoine, designed the concept as part of Axor’s Distinctive project, which presents personalised bathroom ideas from leading architects and designers.
    The Paris-based designer answered the brief with a coastal indoor-outdoor bathroom, referencing the place where she feels most connected with nature.
    Sarah Poniatowski’s seaside bathroom concept for Axor includes an outdoor shower”I have a deep connection with the south-west region of France,” Poniatowski said. “It’s so authentic, and nature is everywhere. It’s the most relaxing place in the world for me.”
    “The goal was to emphasise the surroundings with an indoor-outdoor bathroom and create a relaxing space with a summer holiday feeling.”

    Poniatowski’s concept includes an outdoor shower area that flows on from the main bathroom, where multiple doorways, large mirrors and louvre windows allow in plentiful light and enhance the feeling of being immersed in nature.
    The design combines raw pine and teak wood with a travertine stone washbasinWood floorboards and panelling along the walls and ceiling give the space a cabin-like feel, but one enlivened by Poniatowski’s material and colour combinations.
    Along with raw pine wood panelling and teak frames, the interior features a travertine bathtub and washbasin, teak tiling and, in the indoor shower, a feature section of multicoloured Zellige tiles that introduce blocks of deep purple and pale pink.
    Poniatowski describes it as “a place where you can daydream yet relax, be creative yet stand still, enjoy the outside while being in your very own bubble”.
    The indoor shower features multicoloured tiles”It’s all about balance,” she said. “Hence the choice to play with contrasts.”
    Poniatowski completed her bathroom concept with Axor’s Starck fittings, designed by Philippe Starck, in the brushed bronze FinishPlus surface finish.
    The fittings include the Axor Starck Nature Shower outdoors, another slender shower column indoors, two faucets on the washbasin and a floorstanding faucet at the tub.
    The bathroom is completed with Axor Starck fittings in brushed bronzePoniatowski sees the tapware as creating another opportunity to bring balance through contrast, with the Starck designs having linear, contemporary forms and smooth finishes that punctuate the organic-looking bathroom surfaces.
    “The design of the Axor Starck collection is very distinctive,” she said. “It was important to create a setting in line with it: emphasise it but don’t overwhelm it, and vice versa.”
    Poniatowski created her concept bathroom to suit an imagined personality who loves to travel and appreciates a fast-paced life while also knowing when to stand still and contemplate.
    The fittings provide a contrast to the raw and natural materialsShe designed it as part of Axor’s Distinctive project, which explores the rise of individualisation in personal living spaces via concept designs and discussions with experts and partners.
    The brand sees the trend as a response to decades of globalisation and standardisation, with people now seeking more personal expressions of luxury and style.
    “No one is the same, and this is what I love about my job — meeting people and creating something like nothing before,” said Poniatowski.
    To view more of Axor’s products, visit its website.
    Partnership content
    This article was written by Dezeen for Axor as part of a partnership. Find out more about Dezeen partnership content here.

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    Nivek Remas renovates founder's home to serve as its office space

    Toronto studio Nivek Remas has renovated its founder’s home to create an office for the studio based on changes in working conditions due to the coronavirus pandemic.

    Early in 2020, the Canadian interior design studio led by Kevin Chan and Samer Shaath was poised to lease new office space for its expanding business. However, these plans were halted by pandemic restrictions.
    Nivek Remas renovated one of its founder’s home for the studio officesThroughout the lockdowns that impacted Canadians and the subsequent work-from-home standards, the office sought ways to work together in the future, without going to an office full-time.
    “[We] quickly recognized the shift in what defines an office and the culture that was evolving from those blurred lines,” Nivek Remas’ Kevin Chan told Dezeen.
    The home was converted to have spaces for work and leisureThe duo decided to renovate one of their homes to serve as an office for the young firm, which was established in 2016.

    The new studio was completed in 2021 and is located in an area of Toronto called Cabbagetown, just east of the city centre.
    The studio plays into the work-from-home trendIt occupies 1,250 square feet (116 square metres) of a standalone house in a residential neighbourhood.
    The completed studio has a main office area, conference rooms, as well a kitchen and a dining nook.
    The ground floor has eight workstationsVisitors enter the office along a green hallway accented with glass wall sconces. By the entrance, there is a powder room and a coat closet.
    The ground floor has eight workstations laid in an open-concept configuration. Most of the furniture is black, including the desktops and chairs.
    The space functions as a workstation for the interior design studioAt the front of the house, a kitchenette and breakfast nook look out onto the street. The designers used a darker palette of greens and olive tones in the kitchenette area to contrast the workstations, which are painted white and filled with light and plants.
    An open staircase leads to the upper floor, where the team included a new conference room that offers some privacy from the main work area. It includes a long table and a couch, for more informal gatherings.
    Dark greens were used for some walls and detailsOther amenities of this home-and-office combination include a gym and bike storage for commuters located in the basement.
    The founders of Nivek Remas said that although the new office space helps collaboration, they balance out the time spent there with remote work.

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    The studio said that it has embraced a fully hybrid model and that the office space allows for “creative gathering”.
    “We see this as our studio for at least another five years or until we outgrow the space,” Chan said. “It’s a true representation of our studio work and ethos but also a true representation of the times and how casually defined offices are now.
    “Corporate offices are trying to become more WFH and more casual with coffee bars, and table tennis or gaming break out areas, but we’re approaching it from the other direction and making a residential space more studio,” he added.

    Many architects and designers embraced the work-from-home trend, building out new spaces for themselves during the pandemic.
    Other examples include a coastal Maine cabin that 30X40 Design Workshop completed as its office, and the Beverly Hills home of Gerhard Heusch, who built himself an underground office using concrete.
    The photography is by Scott Norsworthy.
    Project credits:Interior design: Nivek RemasConstruction: Shape Building GroupMillwork: Ell-Rod Architectural Millwork

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    Lee Broom presents Divine Inspiration lighting in theatrical Milan exhibition

    British designer Lee Broom has unveiled his largest exhibition at Milan design week to date, showcasing six new lighting designs in a setting that echoes brutalist architecture and places of worship.

    As part of the exhibition, called Divine Inspiration, Broom has taken over an entire building in Milan’s Brera district and filled it with more than 100 lights.
    Across a series of rooms, the designer is presenting pieces that borrow from the monumental, ethereal quality of religious buildings and artefacts, particularly those designed in the mid-20th century.
    Divine Inspiration is Lee Broom’s largest-ever Milan exhibitionDesigns on show include Vesper, a geometric pendant design with its roots in modernist cathedral lighting, and Requiem, which takes the form of draped fabric.
    “I have always loved brutalist architecture, even as a child,” said Broom, reflecting on his early years growing up in Birmingham and visits to buildings such as the now-demolished Central Library by John Madin.

    The exhibition showcases six lighting designs in a church-like setting”I wanted this collection to be mainly inspired by that,” he told Dezeen. “But when I started researching, I discovered the places I was most drawn to were places of worship.”
    “This led me on a fascinating journey to researching cathedrals, temples and churches, from antiquity to mid-century to the present day,” he added.
    “I wanted to create a lighting collection that invoked that same sense of awe and mysticism as those buildings and their interiors.”
    The tile-like Pantheum light illuminates a Frank Lloyd Wright-designed urnThe exhibition starts in a relatively small room that Broom describes as being like a decompression chamber.
    At its centre is a large-scale stone urn designed by Frank Lloyd Wright, in a nod to the Unity Chapel built by the modernist architect in Illinois in 1908.
    Illuminating this space is the Pantheum wall light, which takes its cues from the coffered concrete ceiling of the Pantheon in Rome. Several of the lights are arranged like tiles, cast in Jesmonite and sandblasted to give a rough texture to their tiered forms.
    A six-metre-long pendant of fluted Hail lights is reflected in a mirror belowThe next room is a large hall, where Broom’s fluted aluminium Hail lights are arranged to create a six-metre-long hanging installation, positioned above a mirror to create the impression that the pendant stretches into infinity.
    “When you walk in, you see a 12-metre extension of this light,” said Broom. “The idea is to reference the idea of the rapture, of going up into the heavens.”
    The Altar pendants consist of illuminated tiles encased in sculpted oakA staircase leads up to a mezzanine showcasing the slender Altar pendants, which combine illuminated tubes with a smooth body of carved oak.
    These are organised around a contemporary altar, where a matching carved-oak font is framed by a large vertical disc of stainless steel.

    Twelve unmissable exhibitions and installations at Milan design week

    A grand installation of the extruded aluminium Vesper lights takes over the next space.
    Here, Broom’s team designed a stained-glass decal informed by mid-century designs and applied it over the windows. The brushed silver and gold-coloured lights are suspended in front, arranged both vertically and horizontally.
    “It’s a dramatic, ecclesiastical moment but it’s uplifting because of the colours and the amount of natural light,” said Broom. “You get to see all the different angles of these lights. They’re like brutalist sculptures with these modern, illuminated connections.”
    Dozens of Vesper lights are installed in front of windows with a stained-glass effectThe penultimate room is a basement featuring Chant, a light inspired by glass blocks, while the final room showcases the four different forms of the Requiem light.
    Unlike his other products, Broom makes each Requiem light himself by hand. The process involves dipping fabric into plaster and sculpting it around illuminated rings, tubes or spheres.
    “The process reminds me of draping fabric on a tailor’s dummy,” said Broom, who studied fashion design at Central Saint Martins before becoming a product designer.
    The Chant lights take their cues from glass blocksRequiem comes in four versions and Broom will make a limited edition of 15 for each.
    “I’ve been in business for 15 years and things have grown rapidly,” Broom explained. “So I thought for this piece it would be really nice to get back to basics.”
    “I really wanted to get my hands dirty and actually get my hands physically on the pieces,” he added. “The idea was to make them look like pieces of draped fabric with light sculptures inside them. But they’re actually solid plaster.”
    The final room features the four limited-edition Requiem lightsBroom has created many extravagant Milan exhibitions in the past, including the celestial Observatory in 2018, the carousel-style Time Machine in 2017 and the Salone del Automobile delivery van in 2016.
    The designer hopes that the Divine Inspiration exhibition – and the soothing soundtrack that plays throughout – will provide visitors with a calming, ethereal experience.
    The Requiem lights look like draped fabric. Photo by Arthur WoodcroftAlthough he doesn’t describe himself as a religious person, Broom believes that places of worship have a uniquely powerful ability to provoke introspection and reverence.
    “The key thing is to take people on an emotional journey,” he said. “I don’t see why design can’t evoke some of the same emotions we feel from art, architecture or theatre.”
    The photography is by Luke Hayes unless otherwise stated.
    Divine Inspiration is part of Milan design week 2022, which takes place from 6 to 12 June 2022. See our Milan design week 2022 guide on Dezeen Events Guide for information about the many other exhibitions, installations and talks taking place throughout the week.

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    Clap Studio creates sunset experience inside Valencia's Baovan restaurant

    A half-moon-shaped screen is programmed to mimic the changing colours of a sunset in this bao restaurant in Valencia, Spain, designed by local interiors firm Clap Studio.

    The eatery is set in a modernist building in Valencia’s Ruzafa neighbourhood and marks the first permanent outpost of Baovan – a local food truck delivering steamed Chinese bao buns, which started up during the coronavirus pandemic.
    Green ropes hang from the ceiling of Baovan’s porchBaovan asked Clap Studio to create an interior for the restaurant that channels the company’s motto of beers, beach and baos.
    “Our goal was to transport the user to a beach, from where to watch the sunset and enjoy some handmade baos,” Clap Studio director Angela Montagud told Dezeen. “So we created a whole experience around it.”
    “The shape of the space was a challenge, as we were faced with a narrow, elongated floor plan with no natural light,” she added.

    Curved fabric panels on the restaurant’s ceiling resemble cloudsIn a bid to turn the restaurant’s lack of daylight into a positive feature, Clap Studio designed an immersive interior that makes visitors feel as if they have stumbled across a secret beach.
    “In this way, it would invite the user to enter and discover the interior,” Montagud said.
    A half-moon-shaped lighting panel mimics the colours of the sunsetDiners enter the restaurant through a porch, where deep green ropes hang from the ceiling like vines in a forest.
    Inside, the interior was designed to evoke a beach with one side finished in a sandy peach colour and the other in deep ocean blue. Wavy textile panels form rolling clouds overhead that filter the light.

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    The centrepiece of the room is a half-moon-shaped lighting panel that was programmed by local creative studio Vitamin to recreate the changing colours of a sunset over the time it takes for the restaurant to complete its dinner service.
    “The interior shows a constant duality of colours that takes us in and out of the water,” Montagud explained.
    “On the ceiling, we recreate a blanket of clouds that brings a magical atmosphere to the interior, reflecting the lights of the sunset that is in constant movement.”
    The private dining area can seat up to ten peopleA private dining area at the rear of the floor plan can seat up to ten people and was designed to create the impression of eating by moonlight.
    Circular and crescent motifs that reference the shape of bao buns are repeated throughout the space from the lighting installation to the chairs, which were designed exclusively for the restaurant by Clap Studio.
    Other projects by the Valencian practice include a playful children’s shoe shop and a fashion store-cum-cafe in Hong Kong with stacked terracotta display plinths and celestial aluminium partitions.
    The photography is by Daniel Rueda.

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    Mind Manifestation lines self-designed studio in Pune with perforated bricks

    Indian practice Mind Manifestation has set up its studio in a converted apartment in Pune and designed the interior to reflect how the local landscape changes colour from season to season.

    Pale green lime plaster and perforated bricks transform the 120-square-metre flat into a workspace that is both compatible with Pune’s tropical climate and reflective of the grassy hillside on which it is set.
    Perforated bricks line the reception area of Mind Manifestation’s studio”The material palette has been tastefully chosen so as to match with the different shades of the hill throughout the year,” Mind Manifestation explained.
    “Thus nature flows through to the indoors and the space becomes part of nature.”
    Seating in the reception area is crafted from recycled cardboard tubesThe office is fronted by a small reception area, where both the floor and desk are lined with perforated bricks.

    Here, visitors can sit and wait on a bench that curves around one corner of the space, fronted by recycled cardboard tubes.
    Just behind the reception desk is a door that leads onto a small terrace, which is also floored with bricks to foster a seamless connection between the studio and the outdoors.
    The window seat looks out across a hillsideBeyond the studio’s entrance area are a few rows of oakwood desks with cane-backed office chairs. There’s also a deep-set window seat that offers views over the sunny eastern side of the hill.
    Walls here and throughout the rest of the office are washed with lime plaster, specifically selected by Mind Manifestation for its breathability. The floors, on the other hand, were poured over with terracotta-coloured concrete to match the bricks.

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    To one side of the plan is a large meeting room centred by a wooden table. The same cardboard tubes that feature in the reception were used here to clad the table’s cylindrical base and to create a textured wall feature.
    At the back of the space is a chunky concrete ledge where staff can recline as well as a shuttered window.
    Green lime plaster covers the meeting room’s wallsAdditional work areas can be found towards the rear of the floor plan, along with a more casual meeting room where staff can gather for brainstorming sessions or team lunches.
    This room is fronted by a series of perforated brick screens that allow cooling winds to pass into the interior. Bricks were also used to build a block of tiered seating at the back of the room.
    Perforated bricks also create screens in a secondary meeting roomArchitecture and design studios often take on the responsibility of creating their own offices.
    In London, the couple behind local practice 2LG Studio established a workspace in their four-bedroom home, while Esrawe Studio set up its Mexico City office inside a former dance hall, taking care to preserve the building’s weathered ceiling trusses.
    The photography is by Hemant Patil.
    Project credits:
    Architecture: Mind ManifestationLead architects: Anand Deshmukh, Chetan LahotiDesign team: Pranjali Ekre, Dipti Kanade, Vidisha Paltewar

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    Nate Berkus designs panoramic sunset bar for luxury cruise ship

    Celebrity Cruises has tapped several well-known designers for the interiors on board its newest vessel, which include a sunset lounge by Nate Berkus and bedroom suites by Kelly Hoppen.

    The Celebrity Beyond, which completed its maiden voyage around Western Europe this spring, is the third in the Miami-based company’s Edge series of cruise ships.
    Spaces unique to this 1,073-foot (327-metre) vessel include a larger, updated version of the outdoor Sunset Bar, which enjoys almost 360-degree views from an upper deck at the back of the ship.
    Spaces unique to the Celebrity Beyond ship include the Sunset Bar designed by Nate BerkusHere, American interior designer Nate Berkus aimed to create a laid-back atmosphere for guests wishing to enjoy cocktails after spending the day at the pool.
    “I’m always inspired by my own travels and in this case, it’s the international beach clubs I’ve been to in places like Mexico, or Europe,” he told Dezeen. “They always feel so effortlessly chic, and casual. The opposite of fussy.”

    The main entrance to the bar is through a plant-covered pergola that frames the gently sloping walkway leading down to the deck.

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    This curves around a series of seating niches and planters before reaching the covered area where drinks are served.
    An arched colonnade and patterned floor tiles give the bar a Mediterranean feel, which is continued to the outdoor seating through custom Kravet fabrics based on Ancient Greek motifs.
    “We also incorporated timeless materials like terracotta, bronze, brass and wood,” Berkus said.
    Kelly Hoppen is behind many of the ship’s interiors, including the suites and stateroomsThe Celebrity Beyond joins the Celebrity Edge and Celebrity Apex in this class of vessel, which first launched in 2019, and is the largest of the three – accommodating up to 3,260 guests.
    The trio share many of the same design elements, including the 1,646 bedroom suites and staterooms by British designer Kelly Hoppen that feature neutral decor with red and orange accents.
    Hoppen also designed the ship’s rooftop garden, its spa and The Retreat – an exclusive section for suite guests that includes private spaces like a lounge, a sundeck and a restaurant called Luminae.
    Other spaces by Hoppen include The Retreat, an exclusive area that includes a private pool deck”The Retreat deck and resort deck have been designed in a way to allow for a multifunctional space, by creating private pods and moments alongside the busier areas, allowing all to enjoy,” Hoppen told Dezeen.
    Another of the ship’s features is the Magic Carpet: a deck cantilevered from the side of the ship that travels up and down at different times of the day.
    A bright orange structure supports a bar and lounge, where guests can take in uninterrupted ocean vistas.
    Like other ships in the Celebrity Edge series, the Beyond features a moving cantilevered deck known as the Magic CarpetAmong the other spaces to eat and drink on board are Eden, which has a garden-themed design by Patricia Urquiola, and the World Class Bar with its dark beige and brass decor.
    Le Voyage restaurant offers a menu created by chef Daniel Boulud, while the Grand Plaza at the heart of the ship serves martinis beneath a giant light sculpture programmed to sync with the music.
    British architect Tom Wright, best-known for designing the Burj Al Arab hotel in Dubai, was the principal architect for the ship.
    The World Class Bar is among the places to enjoy cocktails on boardCelebrity Cruises frequently taps well-known designers like Berkus and Hoppen in a bid to attract younger generations to luxury cruising.
    “We really wanted to embrace the challenge of getting the younger demographic onto these glorious ships along while not isolating the older generation and current clientele,” said Hoppen.
    “With that in mind, we have made sure that we have given a fresh feel to the accommodation while keeping the key elements the same but with a modern twist.”
    Signature restaurants include Le Voyage, with a menu by chef Daniel BouludIn a similar move to entice Millennial and Gen Z cruisers with A-list designers, Virgin Voyages’s first ship features suites by Tom Dixon, while its crew wears uniforms by Gareth Pugh.
    The Celebrity Cruises fleet also includes the Celebrity Flora, which sails the Galápagos Islands and was designed by BG Studio and has a reptilian theme.
    The cruise industry was hit hard by the Covid-19 pandemic, but has bounced back following strict vaccination and testing policies.

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