I S S U E 1 5 M A Y 2 0 2 4
November 2023
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MAY Issue # 14
Jet Cabin Freshbook LLC - A Jet Media company
All rights reserved
All rights reserved - JetCabin Freshbook Magazine, a Jet Media Company
Issue 14 / May, 2024
F E A T U R E S
1 Airborne Cafe - Thomas Chatfield - Making it Yours / Refurbishing Pre-Owned Aircraft
7 JetZign Feature - The Life, The Work & The Genius of Yves Pickardt
11 International Jet Interiors - From Long Island, NY to the world. Exceptional Interiors
18 CONDUIT - (Department) An Anatomy of Material Selection
26 Global Design Roster - The Long Awaited Comprehensive Listing Of Top Designers
31 Yachtspace - Winch Design's 88 Metre FUSION
39 Dave Koch - Gettin' it right. A Legacy in Aviation Photography.
FEATURE ARTICLES
Some years ago, someone I trust and admire told me that editor's notes, should never be about the editor - that it should always be about something or someone else, a story or relevant experience that inspires your readers. I put stock in that advice, then and now - but today I'm ignoring my good friend's advice and making this one all about me. But indulge me please because if nothing else, it is 'inspiring', or at least I think so.
In the early part of my career as a designer, much of my day-to-day was internal, living in my head as a creative - laboring over details, aesthetics and functionality in the way that most designers do. Oh, certainly there was the daily interface with my staff and that is rewarding to be sure. Looking back, I think I would've gone crazy had I not had that daily collaboration and the levity that often arose. But at the end of the day, it rested on me to ensure that we met or exceeded our customer's expectations - and delivered their dream. Sometimes I think I bore the weight of that more than was necessary.
In the years since that time I've learned a huge amount about collaboration and what it REALLY means - how true collaboration not only raises the level of whatever you happen to be doing, but frees your soul and opens you to the broader more expansive joys of creativity.
Ironically, today, as publisher and editor of JCF Magazine, my day-to-day is arguably even more sequestered than when I was directing design projects on a daily basis. I mean, I still write most of the articles, direct the layout and content of the magazine...and so on, and so on. I still have a small staff but they're mostly remote - and so in large measure it still leaves me sitting at my Mac, me, myself and I.
BUT, and here's the BIG difference. Today I live in a swirl of daily collaboration with people all over the world - people who live in and champion the very same passions as me - Jet Interiors. From Designers, to the CEOs of the world's top Supplier companies, to Completion Centers and Flight Departments. Although we rarely find ourselves in the same room, I am constantly in conversation and collaboration with these people - people that have gone from acquaintances, to colleagues, to friends - people from literally every corner of our industry.
And you know what...it feels great. After all these decades of professional life, I have finally learned the true joy and fulfillment of collaboration - and how collaboration inevitably bears the fruit of friendships.
Words From The Editor
Rick Roseman -
Publisher / Editor
From The Editor
First Visit? JCF Magazine is about Jet Interiors; the designers that design them, the centers that build them and above all, the cabin suppliers - worldwide, that ultimately make it all possible.
If your company belongs to one of these groups, let yourself subscribe to something worthwhile for a change. Stay fresh, participate and grow.
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INSTALLMENT
Challenger 606: Martin Kemp Design
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Insight Before Flight: The Essential Guide to Aircraft Pre-Purchase Inspections
ther than a major healthcare debacle, what is the most consequential experience you can face in your adult life? For most of us, at or near the top of the list, would be making a horrible investment - spending a pile of money on something you live to regret. And I'm not talking about a vintage muscle car or an overvalued case of French Bordeaux. I'm talking BIG! A multi-million dollar home purchase, a commercial building, a yacht, or in the case of this article, a private jet.
The old adage "all that glitters isn't gold" applies to every large purchase we will ever make.
Standing on a ramp at dusk looking at a gleaming, beautiful, freshly painted pre-owned Gulfstream is a seductive, very compelling moment for those who have climbed the ladder and now stand ready to join that very elite club. But beware! Like those regrettable whiskey-fueled remarks at your fraternity brother's wedding - this too may be something you can't take back. Spending $30 to 40 million, (or more) on an aircraft is no small leap and it simply can't be made based on the smell of the leather or that second cabin that the kids will just adore. Behind that beautifully refurbished interior is a few thousand flight-critical moving parts and if they aren't in top form at purchase, will absolutely set you up for a regrettable decision.
In this installment of AIRBORNE CAFÉ with Thomas Chatfield, he takes us through the pre-purchase inspection process and why it's 'everything' - assuming of course, you don't want to hate yourself a few months down the road.
This is the third installment of Airborne Cafe. We are proud to embark on this ongoing series of thoughts, extollings and stories from one of the premier figures in our industry. In each issue Thomas Chatfield will offer us thought provoking articles like the one above - each of them relevant and insightful from the perspective of private aviation. Simply hit the link at right to finish the article and while you're there, learn more about Camber Aviation Management and the importance of their work
Thomas Chatfield - Executive Contributor & CEO
Camber Aviation Management
When large amounts of money are involved, the use of esoteric language and overly technical terms is common, which can hinder communication and alienate the buyer.
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In our May 2023 issue, we featured the most renown designers in Europe. In our September issue, we covered the western hemisphere featuring the top designers in North America. Both series were wildly popular, especially among our growing segment of subscribers: Owners and Flight Departments.
However at the end of '23 we promised to combine both regional listings into a single roster representing the top designers - worldwide. That day is finally here. We're proud to announce our Global Design Roster wherein both the European and American rosters are integrated into one comprehensive international resource. Beginning now, Global Design Roster will become a permanent ongoing resource within our magazine. GDR will be managed and updated continually in order to ensure our users of fully up-to-date listings and accurate contact links. We are currently reaching out to other well known studios in regions other than Europe and North America, eventually making the roster fully inclusive and truly worldwide for owners and their representatives in sourcing and accessing the world's top designers.
Global Design Roster features not only "independents" but well-known design chiefs within completion center design departments.
Autumn Elizabeth Duntz / Autumn Elizabeth Design
The Global Design Studio Roster - coming January, 2024
Global Design Roster is searchable either via the designers last name OR the company (studio) name. Additionally, In the top / right of each listing, you will find a flag representing the country in which the studio is based along with the city / state.
At the base of each listing, you will find the studio's website link and an email for making direct inquiry to the studio. Beneath the designers picture are accreditations such as OEM validations, awards and other credentials the studio has chosen to display.
Also included is the year the studio was founded and how many projects
the studio has completed during its history.
Greig Jolly / Winch Design - London
viewporn@interiorvilla1
P R I V A T E J E T I N T E R I O R S C A P E
After 37 years nestled in the heart of Barnes, Winch Design is moving down river this summer, signalling the beginning of an exciting new chapter for the business
Learn more . . .
The next chapter begins for Winch Design
"The top DESIGN studios around the world are absolutely the ones that inform the industry and set the trends."
Jetzign is where we highlight the very latest from the top designers and studios. Whether it be the iconic independents or the great design departments within the world's top completion centers, this is where you will find their latest works - and always with an emphasis on the near-term future of cabin design
Image courtesy of Sotto Studios
This entry of Jetzign foucuses on one of the true legends in our industry, Mr. Yves Pickardt. Beginning his life on the magical Cote D'Azur and his career in Rome - both ushered in a visual world, arguably unparalleled anywhere else on the planet. And it took off from there. In this issue we are proud to show off his work and career - a career spanning decades - one that in many ways has helped shaped aviation interior design as we know it today.
L O N D O N
Y V E S P I C K A R D T
P a r i s i a n D e s i g n L e g e n d
I was born in the Principality of Monaco, within close proximity of Italy, the country of visual and sensory arts - architecture, painting, design, music, fashion and gastronomy. All of it irresistibly attracted me right from the start of my career. Imagine the impact of an office with a window overlooking the Spanish Steps in Rome on a young designer freshly settled in the Eternal City.
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I think I'm a bit of an atypical design mercenary.
- Yves Pickardt
I think I'm a bit of an atypical design mercenary.
I work mainly on my own, but am assisted in the crucial phases of a project by hand-picked collaborators and friends from all over the world. I design very few aircraft, but for some of the world's most prestigious and demanding customers.
Not only do I make each project unique in every way, I also strive to make it a paroxysmal concentration of quality and creativity.
And since I stay in touch with my customers, even long after the aircraft has been delivered, I can testify that they have two destinies that illustrate their very high level of quality and durability. Either customers keep them for years - more than 20 years for a certain BBJ - or if they are offered for resale, they immediately find a buyer. For I never compromise on the quality of the materials and their application. Better still, if the material I'm looking for doesn't exist, I have it made. Whether it's leather, fabric, carpet, wood, metal or stone treatments.
It is today, at the very moment when I'm setting up a new company, that the long path I've followed for over forty years comes into its own.
Born into a family of artists, painters, dancers, film-makers and actors, of German origin but scattered to the four corners of the world, including France, since WWII, it was only logical that I should study interior design in Paris. Which I did and graduated from the Ecole Nationale Supérieure des Arts Appliqués et des Métiers d’Art. (National Superior School of Applied Arts and Crafts.)
Exclusively designed by Yve's Pickardt on behalf of Alberto Pinto.
Winner Boeing Business Jet competition.
For as long as I can remember, as a child, I'd always played with models of houses and airplanes. The way was paved for my future career.
Born in the Principality of Monaco, the proximity of Italy, the country of visual and sensory arts - architecture, painting, design, music, fashion, gastronomy - irresistibly attracted me right from the start of my career. I worked there for ten years starting in early 1979. Imagine the impact of an office with a window overlooking the Spanish Steps in Rome on a young designer freshly settled in the Eternal City.
It was on the strength of this initial experience in decorating yachts and luxury residences that I introduced myself to Paris based Alberto Pinto, one of the world's top ten interior designers in 1988, for an extremely fruitful collaboration that lasted until his death twelve years ago.
After founding his aeronautics department 26 years ago and designing some of the largest and most luxurious aircraft on the market, of all brands, Boeing, Airbus, Gulfstream, Bombardier Global, Dassault Falcon, for the best clientele imaginable, I'm now continuing this adventure under my own name.
In 2006, I had the great good fortune to design the interior of a Boeing 747-8, a privilege reserved for very few designers. I've also had the opportunity on several occasions to design the interiors of new aircraft models as soon as they hit the market, such as the Airbus A320 Neo and the Bombardier Global 7500.
But the first aircraft for which I was asked to design the interior, long before the creation of the aeronautics division at Pinto, was one of the last legendary Sud-Aviation Caravelle. As for my unfulfilled dream, it would be to fit out a VIP version of the cabin of a Lockheed Super Constellation, the most beautiful aircraft of all time, on which I made my maiden flight at the age of three.
"No individual can achieve any level of success without the help of amazing colleagues who continually support and champion your work. For me, there are many. I wish to offer my sincere thanks to: Mr. Damien Charles, Mr. Branislav Djakovic, Mr. Romain Bardy, Ms. Béatrice Sinet-Dusapin and Mr. Thomas Chatfield (Camber Aviation Management)."
- Yves Pickardt
Mr. Pickardt's body of work is enviable and has consistently remained relevant over the years. His designs, both historically and today, display a unique visual signature that marries the best of classic modernism with traditional themes. Yet never do his designs stray from the warmth and the inviting our souls all crave. His work is timeless, the designs themselves long outliving the jets in which they are installed. Yves Pickardt is a legendary figure in VVIP aircraft, and Jetzign is proud to have featured his work.
For more information or to get in touch, reach out below:
Y V E S P I C K A R D T
i n t e r i o r d e s i g n
8, rue Blomet
75015 Paris – France
ympy@neuf.fr
+33(0)609786826
I'm often asked where my inspiration comes from.
To tell the truth, I don't know exactly. Like all my colleagues designers, architects, and painters and writers too, I suppose, I first go through a phase of vertigo in front of the blank page. And then the ideas arrive, at first in dribs and drabs, and then in a rush, the hardest part being sorting them out. I believe that what feeds my projects is a clever cocktail of original creation and interpretation of things seen here and there during my many travels around the world since adolescence. I have a colossal visual and photographic memory, from which I regularly and abundantly draw the necessary resources for my projects.
I don't believe you can serve an international clientele without knowing the world yourself. Of course you also ought to have a deep knowledge and understanding of different cultures and, last but not least, the psychological sensitivity to understand your customers even before they express their wishes. That's why I've been able to satisfy customers from all five continents, from the USA to Australia, from Brazil to China, from France to Russia, from the UK to Switzerland, and so on. But I'm not a theorist.
I couldn't possibly write a treatise on design in general, and aircraft design in particular. I act on impulse, by feel, by eye. I'm all about experience. Even when it looks like I'm not working, in reality I'm constantly on the go, I’m 24/7 design woke. Because at every moment, from dawn to dusk, wherever I may be, and sometimes even in my dreams, my eyes and my memory capture a shape, a color, a harmony, like the pieces of a puzzle where they naturally find their place.
We use to say that the Devil is in the details. But maybe God too! Given the cost of a square foot on board a private aircraft, ten times the one of a luxury house, and moreover, by respect for the customer, and last but not least, per passion of my work, there is not a single location in the cabin that is not explored with a microscope. I pay maximum attention to details because this is where real luxury hides.
"There is always a moment where the owner will have a look on a small detail and he will be happily surprised that we spent so much attention to such a tiny area. This is what definitely makes the difference."
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There are plenty of people photographing aircraft. Very few who excel at it.
A truly uncommon completion center where cabin transformations and seductive details are commonplace.
Eric Roth - Founder / CEO
I've been writing articles on top-tier aviation companies for a long time now. It's always great to uncover the things that make them special and learn the faces behind the brand. But once in a great while, you run across a company that surprises you in ways didn't expect. As my initial research and later my interview unfolded on International Jet Interiors, I began to realize something really special about this company and its leadership. If I had to boil it all down to a few words, it would be "a very keen eye for detail". And I don't just mean the interiors they produce. I mean everything. From the elevated knowledge of art and modern design influences they bring to the customer at the very beginning - to the wonderfully evocative photography of each project at the very end. These guys just "get it". I invite you to read my one-on-one interview with Eric Roth, the company's CEO and study the photographs of some of their truly remarkable projects.
Interview and article by:
Rick Roseman
Rick Roseman: Good morning Eric and Adrianne. Thanks for joining me. Looks like we all have our coffee so let’s dive in. If it’s OK with you, can we please start by having you tell us a little about when and by whom International Jet Interiors was founded and also perhaps a bit about the market drivers at the time, what precipitated the startup?
Eric Roth: Sure, so, my name is Eric Roth and I founded International Jet Interiors on November 5th of 1986. And the impetus behind it I must say, was a a natural one. I came by it honestly as I grew up in the industry as a kid.
RR: How’s that?
Eric Roth: My dad had a small refurbishment facility working on King Airs and Lears, airplanes like that. I thought I would simply move into his business after college. Unfortunately, he was going out of business at the same moment that I was finishing my education. But still filled with passion for airplanes I took a construction job for the summer, waited it out to raise enough money and finally incorporated in New York State as a small aircraft refurbishment business, which fortunately I’ve managed to turn into what we have today.
RR: 1986, that a lot of years.
ER: Yeah, I mean this is all I know. It's my passion. It's what I love. And happily we’ve earned a very good reputation within the industry worldwide.
RR: Can you next please elaborate a little bit on what size of jets represent your core market today and if multiple classes what roughly is the percentage of each?
ER: I would say over 95% of our work is the higher end of corporate aircraft. So that's Gulfstream, Bombardier Dassault Falcon and maybe throw Embraer into the mix with their Legacy Jets. We also have sporadically worked on Boeing aircraft. In fact we were just finishing up a Boeing 737 for a client now. But those are far a few between and we haven't really focused on that market. We have been encouraged to enter into that market so we’re considering it. We're in a huge growth stage right now and we've got a lot of really exciting, fun things going on. So, as we expand we're evaluating our role in the marketplace and the types of airframe we’ll pursue going forward
RR: Also as a follow-up to that second question, I wanted to ask you if you find it cumbersome to switch from your core sort of top tier business jets and work on larger aircraft, such as the narrow-body Boeings.
ER: I think it creates certain challenges, most of it being the required research and understanding of the differences between the outfitting of each. Let's say between a Gulfstream 550 and a Boeing 737. So, we've got to be diligent in that research to see if there are any flammability or toxicity requirements that may change as you shift from one airframe to another platform? Obviously, there are certain things that you simply learn along the way but we make sure those are small things - that all the major challenges are met before we ever take on a larger aircraft. We want to ensure our clients know we have the right information and are confident and well prepared once the aircraft rolls into our hangar. Basically, what it boils down to is assessing whether we can exceed client expectations at every turn without any type of excuse. There will be challenges on all jobs, big or small. But that’s our central edict for accepting any job.
RR: Can you tell us a little bit about the size of your facility and if you predominantly serve a regional market there on the upper East Coast or if your clients are from all over the US and the world in fact?
ER: Ok, let’s start off with part A of that question, the size of our facility. We operate out of two 33,000 square foot hangers that are back-to-back. So together we have 66,000 square feet but mostly operate out of only a portion of that. So we have the ability to immediately grow as we need to and take on more square footage within the existing hangers.
With regards to offices and back shops, we've just recently taken more square footage. We're right in the middle of doing a big build-out, which is very exciting. We’re moving shops around for production workflow efficiency and just the additional space that's required. Together we have roughly 20,000 square feet of office and back shops.
RR: Impressive. I wanted to ask if you offer paint at your facility or is that usually sent somewhere else?
ER: We do offer paint here but not full up start to finish. Let me clarify. We don't do full paint jobs here. But when someone calls and says I need an N number change or add a stripe or recolor existing stripes, we certainly do that on a routine basis. For full paint job requirements, which come up many times a year, we've got relationships with all the major paint facilities throughout the US. We do however manage the paint scheme design, the renderings and specific paints that will be used. We go through the pros and cons of one material versus another with our clients. We also go through external inspection plates etc. areas that can be painted or left unpainted – even things as small as screwheads that might incur keyholding under regular maintenance. These are small things but we focus on details and it’s one of the things that set us apart. Lastly regarding paint, I want to mention that all our livery renderings are produced in 3D so the owner gets a really clear understanding of what the paint looks like from every viewing angle.
It's so much about the customer experience for us. We're really taking it the full life cycle and by doing that we've been able to really amass a good following of customers around the world and we consistently give them that experiencing of something extraordinary.
RR: In looking at your website you seem to focus quite a bit on design. Do you have your own internal design department? And if so, can you sort of take us through the process of working with your customers during the design phase? And also, if you work with independent designers from time to time as well?
ER: Sure, so, great design is subjective as I'm sure you're aware of. I mean everyone has an interpretive value for what good design is. For us. it's first about educating our client on the possibilities, about being a very good listener and asking insightful questions as to what their main goals are. And then pairing that up with what I call a sense of reality and that sense of reality could take in usage at the moment and future usage and various other aspects of how they intent to use the aircraft. We'll sit down and say look, I just bought this aircraft and this is what I'm thinking about doing and my question is always, OK, let's talk a little more about that. Number one, have you owned an aircraft before? Have you been through the refurbishment process prior? What have those experiences been like for you? Then we'll swing over and discuss asset values. So, if you have a G650 or a Global 7500, it may make sense for you to make a certain financial investment.
In that asset class first, let's say a GIV or Challenger 600, it's just what makes sense. Now, that being said every once a while, we do have a client that says “I want what I want, this is what makes sense to me” and we'll say based upon the dollar amount that we're looking at financially if I was an accountant, I would tell you this doesn't make sense, but based upon what you're telling me, if you don't care if you lose x amount of dollars on the backend, but you get to enjoy this for the period of ownership - then I'm okay with it. “It's not the investment that I'm focused on. It's the lifestyle and what it brings me.”
And we've done that with the few clients where they've made that decision but always after we’ve had the conversation and provided appropriate counsel. That way, they will never come back to us and say “Wow, you led me down this road and now I'm into this plane for x amount of dollars way above market, sliding resale value etc." So those conversations are extremely important before we ever get started."
But once we get past the investment strategy, we'll ask questions like “how many hours do you plan on using the aircraft?” And since most of our clients are not first-time buyers at this level, they’ll all have an idea about the hours they spend flying. So, we want to understand that upfront. Then let's say it’s a Part 135 usage and what I'll tell them a little tongue and cheek is, I'm not here from the IRS to do an audit on your flight department. I'm just trying to get an idea of whether white carpet and white leather is practical when you anticipate 400 hours of charter. Again we are leveraging our decades of experience and asking the questions that are important – making sure they’re well informed. But of course, at the end of the day, it's always their decision.
But with those questions answered, it sets our approach for design; the various materials we want to use, durability, UV considerations and the like. And then there are other key considerations like inflight entertainment Cabin Management Systems, LED lighting, floor plan mods, the level of customization they’re seeking etc. Going all out may be great for your ownership, but I think in the charter market, having high demands in a G550 that's going to be going to Europe quite a bit, you're gonna be out of that market. So once again, I step in and educate them – we have that discussion, what makes the best sense.
Similarly, let’s say you've got a big family and you want to take your family, the nanny, your housekeeper and everyone down to Anguilla for beach holidays – this is going to have extreme demands on the layout of a Gulfstream 550.
Here, I'm going to tell you that it's going to be a real challenge to roll all that into a floorplan and still meet the requirements as a 135 operator.
RR: Yes, the value of those conversations can never be overstated. So, do you have some kind of internal design department or interior design showroom there?
ER: So yes, we have a full-time designer on staff. And we have a structural designer as well. Then we have about two or three people that routinely get involved in certain aspects of the design when we need to gain focus in certain aspects of the design.
And yes, we've got a robust array of design talent in-house and we have a gorgeous showroom. As a matter of fact, we have both a G550 mockup and a Falcon 7X mockup in our showroom.
This enables us to go through the interior space of either aircraft with our customers and let them get a sense of scale, how certain details or layouts may or may not work etc. The mockups are extremely valuable tools for us always working in tandem with our design department. We can discuss things like PSU locations, side-ledges, lower sidewall panels and all manner of details – real time and all in precise scale to their aircraft.
RR: Yes, full scale mockups are valuable tools to be certain and I’m sure that gives you an edge.
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ER: It does, and in that regard, I should point out that I’ve been to all of our competition. And in many cases I've been there as a customer. So, I've had that unique opportunity. Occasionally, we have been brought in because maybe they had a brand-new aircraft being outfitted and they got frustrated with the OEM’s process. But now they’ve purchased a new aircraft and because we have a strong relationship with them, they asked for our help.
RR: Can you shed a bit more light on that?
ER: Well, it’s first having the opportunity to be there as a defacto customer. That is to say, I've been to OEM meetings where you sit down at a big board room table and they're all handing out business cards and shaking hands for half an hour. So you have all those biz cards in front of you but not one person's involved in your aircraft. Not one person could speak intimately.
RR: Yep, I’ve been to my share of those.
ER: Right, and the fact that you’re snickering is because it's true and it's a total waste of time. It usually represents a lot of fuel and time and money.
"Everybody knows just how passionate and crazy radical I am about details. As my wife likes to say, I’m OCD, ADD, ADHD and all the other acronyms that define a sort of obsessive behavior over details."
Continue this article below
And so you walk out of there and you really didn't get any place. Often as the customer, you call them up and find out your supposed customer rep has already been assigned to a different project and now you're starting all over again. To that end, we're offering something different – a more tailored level of personal service and intimacy and you just can’t usually find that at a major OEM or even some of our competition.
As for back here in our facility, I encourage everybody to walk the floor going through the back shops. I'm not talking once a week. I'm talking at least once a day. Why? Because invariably, you discover something that wasn't written up or that wasn't presented that you couldn't see unless the panel was stripped. And then you can bring it up in the morning meeting or right on the spot, and get the issue addressed before it has a chance to impact schedule or affect a contiguous task.
RR: It also seems like you take great pride in precision and artfully crafted cabin details. I think that was something I saw on your website. Can you please tell us how this focus came about and what lengths you go to in ensuring such high levels?
ER: Sure, it's a great question. I guess leadership stops and starts at the top. And of course that starts with me and it's my job to make sure it finds its way down to every one of our people. Everybody knows just how passionate and crazy radical I am about detail. As my wife likes to say, I’m OCD, ADD, ADHD and all the other acronyms that define a sort of obsessive behavior over details. But in terms of our business here at International Jet, it definitely serves us. It would take way too long for me to take you through the hundreds of examples – but suffice to say, we go to extraordinary levels to see that even the smallest details are not overlooked.
...Continued from above
RR: I understand but maybe you can give us one example?
ER: Yes, so here’s a pretty good example. Let’s take USB ports. They’ve never been particulary attractive nor will they ever – but they’re very necessary throughout the cabin, right? So we contract, procure and install 12 USB ports in the main cabin and maybe it lists out at which seat position, but I guarantee you in any proposal, including our own, it doesn't talk about the frame station and the water level. So there's an interpretive value, right? This is where the owner is now entrusting us to make those decisions and to do it in a way that lets them know real thought has gone into it – that we’ve not only placed them – but placed them where they belong, where each passenger has the best possible access to them and ergonomically installed in such a way that someone’s elbow or the seat arm is not going to accidentally clip them off or push one through the Nomex. This is where we excel and it’s what brings our customers back – not to mention indulging my own obsession over details.
It's been our experience that most of our competition doesn't look at it that way, because they are focused on man hours and performance reviews. You were in charge of doing these 38 aircraft this year and you've been over by x amount of hours. So, we're going to use that data and its going to be reflected in your review when in essence this person was just trying to do something that made sense.
"You don't always need to get engineering involved. We've done it a million times this way and who cares if we have an escuccion in my lower side panel that's four inches by six inches with one little outlet in it, which looks ridiculous?" These are things that require being nimble – about putting common sense and aesthetics above standardization. Again it’s what brings our customers back. They notice these things and it has become our stock-in-trade.
N950PB Inspired by Playboy's original "Big Bunny Jet" - exclusively reimagined as a Global Express by International Jet Interiors
International Jet Interiors - Design Showroom
It’s about listening – really listening to what your customer wants, putting all the data on the table and then allowing them to make his own decisions.
n today's highly competitive landscape, showcasing aircraft interiors requires more than just incredible design and completion. You've invested significant time, resources, and effort into the final product, and the archival imagery needs to reflect that. Nothing like high-end photography takes maximum advantage, nor shows off that investment at any higher level, short of standing in the actual aircraft. While snapping a few shots with your iPhone or hiring an inexperienced local photographer might have sufficed in the past, today's marketing teams, be them big or small, are no longer prepared to accept mediocre images in promoting their work and attracting new customers.
Dave Koch and his company AeroMedia is based in the US Southwest but routinely travel globally in accomplishing their shoots. The company specializes in delivering ultra-high-quality, detail-oriented imagery from a highly experienced team that will more than elevate your brand's perceived value. Led by master photographer Dave Koch, boasting more than 30 years of experience in luxury, architectural, and jet interiors, these guys are into "getting it right!"
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Admittedly, Dave didn't set out to make a career out of photographing aircraft, but fate had other plans. Sometimes in life, you find yourself precisely where you're meant to be, and for Dave Koch, that's in the cockpit with his camera, capturing the awe-inspiring world of aviation.
With his myriad of experiences shooting aerospace projects, it took him no time to recall his absolute favorite. “Flying back-seat with the Blue Angels,” he remembers without batting an eye. “Flying out of NAS Moffett Field and seeing the Bay Area from an F/A-18 is an experience you will never forget.”
When it comes to choosing a photographer for your aircraft and facilities, options abound. What sets Dave Koch and AeroMedia apart isn't just their passion for aviation or their extensive experience; it's their steady, unwavering focus on reliability, consistency, and image excellence. Working with Dave isn't just a transaction; it's a journey marked by his dedication to a collaborative process. "But," he adds, "my ultimate aspiration is to always be the first-choice photographer for those seeking the highest quality images of their aircraft and facilities."
AeroMedia’s central approach is an unwavering commitment to working closely with the designer or builder to capture their creation. Through close collaboration and a comprehension of each project's intricacies, AeroMedia consistently captures the essence of the designer's vision, thus showcasing the meticulous craftsmanship and dedication that goes into the most pivotal projects.
My approach is both innovative and meticulous, ensuring every facet of your aircraft—from the opulent cabin to the sophisticated cockpit—is presented in the best light. We excel at highlighting the distinctive luxury of the cabin, the sleek functionality of the galley, and the advanced technology of the cockpit, with even the lavatory and baggage area receiving our full artistic attention for a comprehensive portrayal.
Recognizing the immense passion and creativity aircraft interior designers pour into their projects, our photography aims to capture and convey every subtle texture and hue. We commit to making each photograph a testament to your dedication of crafting exquisite flying environments, offering a visual narrative that truly reflects the pioneering spirit of your designs.
Dave Koch
Aero Media / Aviation Photography
F E A T U R E D V I D E O
VIP Completions takes us on a guided tour of their largest completion to date - B-767
E X P E R I E N C E T H E U L T I M A T E. I N L U X U R Y P R I V A T E J E T T R A V E L
When you open the door to the Lou Hansell Bespoke studio, the possibilities begin. Our artisans and designers have selected a palette of exquisite materials, with 51 shades of ltalian leathers, five metal and inner trim pairings, and personalization options. Driven by their boundless creativity, they combine their talents and craftsmanship to create pieces you’ll cherish forever.
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Q
Six Designers, Four Questions:
What comes first? What criteria governs your decisions? How does the process all comes together in your studio? And lastly, can you give us a few of your favorite go-to suppliers?
While carpet often dictates my projects due to lead times, I prioritize flexibility to accommodate each project's unique demands. Some projects revolve around specific client requests such as custom lighting or intricate stone details, shaping the entire design process accordingly.
With each client, I employ a questionnaire as a diagnostic tool to determine the most suitable materials for their needs. Aircraft for private owners flying solo have distinctly different requirements compared to an aircraft for charter companies. After understanding the client's flying habits, I provide recommendations, always accompanied by renderings. I've found that presenting renderings alongside physical samples during material selection meetings instills the highest level of confidence in the final design.
My latest projects included Garrett Leather, Moore & Giles, Scott Group/Red Rock, Tai Ping, Tapis, and Sohe! However, it's important to note the plethora of other exceptional suppliers in the industry, each offering unique solutions to meet diverse design requirements.
To learn more about Autumn Duntz and her studio Autumn Elizabeth Design, visit:
Ms. Autumn Elizabeth Duntz
As for what comes first, it's a tough question because usually the way we work depends on the size of the airplane, the type of project, whether a clean-sheet or a refit. So, all these aspects have an impact on where we start but typically what we do is we start by doing a mood board. After we get the design read from our client on that, we go back and refine the mood board carefully taking into consideration the full design brief. And from there, we derive our first iteration of color and materials combination. Then depending on whether we have something existing that will stay (as in the case of a refit for example where the wood veneers will remain), then we construct everything around that - and maybe we start with the leather colors for the seats. But in general, it's just dependent on several factors.
To the question of what governs our decisions overall in choosing materials, again it's several factors. But of course the big driver is whether the fabrics are aircraft rated for flammability, smoke toxicity etc. That has to come first. The other really big consideration for us is "consistency" of the material we select and receive. For embossed leather as an example, we once worked through our design with the supplier but when the final hides came to us, there were some inconsistencies between the depth of the embossing motif. We had to go back and work with the supplier to resolve the issues and get all new hides, which of course caused delays etc. So, these are two paramount drivers for us. Beyond that of course, it's all about choosing materials and colors that will create the ambiance our customer is seeking.
You asked me to sort of describe our overall process in selecting materials. Initially it goes back to the inspirations set forth in the design brief. We will start working with a color theme, typically providing options to get at that ambience, I would like to call it. So I will work with the team on accents of Blues for example, or maybe a dominant of whites with some other accents and so on - until we will arrive at a selection of materials that fits the customer's expressed desires. For example we had a requirement some time ago where we needed to create the feel of desert sand at the floor. So we worked with our carpet supplier to get a strike-off that would translate the design idea into an actual sample. It's very much an iterative process of course - but when you have a good supplier that understands the creative process. So for example, we work sometimes with Scott group as they understand this and have a nice database of existing collections. And from there, we can derive our other materials, typically using our own database.
Again, it's very iterative and each project is different - but generally speaking, this is our overall process - how we work in achieving our full selection of materials for the aircraft.
As for some of our preferred "go to" suppliers, I should probably start with Scott Group as I mentioned them above. We have worked with them successfully a few times. I would also say Kalogridis. They too are a great custom carpet company and now that they have DECONEL, I really like what they're doing in terms of custom wall treatments etc for subtle design applications.
In terms of fabrics, we use Tiscatiara (TISCA) a lot - a Swiss based group. They do a good job and great selection. As for plating, we mostly use Techno-Coatings in Florida - but also a French company called ProtectDecor. In terms of leather, Moore & Giles has been a 'go to' but also recently we have been looking at Aeristo, a good supplier of aviation leathers.
Learn more about Jean-Pierre Alfano and AIRJET Designs by visiting: airjet-designs.com
Mr. Jean-Pierre Alfano
Do you usually lead with a particular material (e.g., carpet, headliner etc)? JK: We typically approach a design by establishing a strong foundation that ensures a VIP experience throughout the aircraft. The carpet and headliner are part of that foundation, and bespoke materials and textures also are important. By laying this strong foundation, we create an environment that allows all other touchpoints to shine, truly elevating the VIP experience.
Can you give us a brief philosophical overview of your process when it comes to material selection? JK: Material selection requires a holistic approach, melding a Material Driven Design Approach and Material Culture in equal measure. At the heart, this approach creates an opportunity for the properties and characteristics of a material (e.g flight-readiness, manufacturability, sustainability) to be evaluated alongside the aesthetic value and haptic experience. It is a tightrope, a delicate balance to reach the end goal: delighting the client and enhancing the VIP experience.
Ms. Jeannine Kray - Sr. CMF Designer
Can you give us a few of your favorite go-to suppliers? JK: To be honest, I do not have a single favorite supplier. Instead, I gravitate toward a favorite type – those with collaboration and innovation ingrained in their DNA. These suppliers make deep investments in sustainability and are committed to adapting and developing new materials for the Aviation Market. It is a demanding market with low volumes and understandably high requirement standards, and I have an immense amount of respect and appreciation for their resolve.
Anything you’d like to add? JK: Over the years, Designers across our industry have been advocating for new materials that elevate and deliver a VIP experience. We are in a thrilling time! While we continue to be inspired by developments available in parallel industries, we are increasingly able to draw on more material inspiration within Aviation – that is truly invigorating!
Can you give us a brief philosophical overview of your process when it comes to material selection?
Our vision is to deliver the ultimate experience in business aviation and when it comes to interior design, that means putting the customers’ needs at the center of every decision we make. So first we aim to understand the essence of the customer and their preferences, intelligently associating technical requirements with market trends, and matching the utility of the aircraft to the needs and desires of the customer. We ask questions to better understand their needs: What type of operation do they have? Is it a part 91 or 135? Do they use the aircraft for business, personal use or a bit of both? How many hours a year do they fly the aircraft? Do they run a high-utilization operation? Will they operate in areas where weather plays a big factor on which materials we recommend?
One key tool for us has been some of our conceptual aircraft that we’ve published over the years. The Praetor 600’s Praeterra interior concept is a great example of an idea starter that customers often gravitate to—especially being that it’s made up of all sustainable materials.
Once we understand the customer’s vision, we employ Embraer’s Design DNA philosophy, which has three core pillars: ergonomics, craftsmanship and design. Customers are invited to make their own decisions and we guide them through the process, using our knowledge and expertise to make the best choices to suit their needs.
Can you give us a few of your favorite go-to suppliers?
We partner with numerous key suppliers that provide the highest quality work and share our vision of delivering the ultimate experience for our customers. For the Phenom family of aircraft, we utilize the same suppliers for the leather surfaces and carpet in both the 100EX and 300E. For our Praetor platform, we utilize a different supplier of leather for the seats and have excellent partners for our cabinetry and shell of the interior. Each one of our suppliers provides top-notch, high-quality materials and allows us to deliver our best-in-class aircraft.
Lastly, we are always exploring more sustainable solutions and take advantage of any opportunity to offer these solutions to our customers during spec sessions.
Mr. Jay Beever - VP Design / Embraer Executive Jets
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Do you usually lead with a particular material?
We start with the materials that command the most attention, such as the seat leather or veneer. Once we select the seat leather, we build the interior around it based on the undertones. However, if a customer gravitates to a carpet first, we will begin there and build the interior around the undertones in the carpet. The most important principle is to listen to your customer, recognize what sparks their interest and build from there.
Our sincere thanks to the above designers for weighing in on this, our third installment of CONDUIT. Conduit is a regularly occurring feature within JCF Magazine; a way of fostering ongoing dialogue between the Supplier Community, Completion Centers and the Design Studios that collectively support the advancement of jet cabin interiors, year after year.
As a supplier, if you have responses to any of the above comments, please share them at: editorial@freshbook.aero
Do you usually lead with a particular material (e.g. Carpet, Headliner etc)?
The desired ambiance created through the client’s taste will lead us to creating mood boards. This is where inspiration and thoughts are first collected to work forward from. Typically, we will lead the selection of materials choosing either the carpet designs or the veneer. Both are key components considering how much they contribute to the overall space and completed design.
Can you give us a brief philosophical overview of your process when it comes to material selection?
Designing any interior requires a thoughtful selection of materials that appeal to a desired aesthetic. As important as its aesthetic, the material must ensure comfort and durability. Each material selected plays a role in the space’s overall mood and functionality. Getting to know a client’s unique taste and needs.
Ms. Lauri Church
Overall, what governs your choice of materials?
Aesthetics and the desired ambiance are very key aspects that govern our choice of materials. However, functionality is paramount. The materials must serve their intended purpose not only aesthetically but effectively as well. It is important to find comfort in the living space, durability in high trafficked areas, ease of maintenance throughout the space, and longevity of each material.
Lastly, Can you give us a few of your favorite go-to suppliers?
Sure, at present we often use the following suppliers: Tapis, Tai Ping, Kalogridis, Scott Group, Garrett, Townsend, Moore & Giles, Holly Hunt, Rubelli and Romo.
1. Do you usually lead with a particular material (e.g. Carpet, Headliner etc.)?
Deciding which material to lead with is all dependent on The Customer and the overall experience they wish to cultivate. Some seek a captivating focal point, a bold statement piece that sets the tone for the entire design (which can be conveyed through the carpet, seats, bulkhead, or virtually any surface in the interior). Others are drawn to the subtleties, preferring a meticulous attention to detail that effortlessly elevates every corner of the interior. In crafting these interiors, material selection is approached as a journey of inspiration and customization tailored to each Customer’s unique vision. Rather than adhering to a rigid formula, we embark on this creative journey by first understanding the essence our clients wish to convey and go from there.
2. What primary criteria do you use in selecting materials?
In the selection process, wearability and durability are highly prioritized to ensure longevity and performance. Beauty is also paramount – curating materials that elevate the aesthetic and overall design. Flame resistance is nonnegotiable for safety and FAA compliance, which leads to analysis of material composition / fiber content for quality and suitability. Textural interest is my favorite, adding depth and sophistication to the design. Most importantly, all materials are to align with The Customer’s desires and goals, whether it’s sustainability, opulence, minimalism, or boldness, ensuring that every choice reflects their vision and ethos.
3. Can you give us a brief philosophical overview of the process in your studio when it comes to material selection? Our approach for material selection is guided by a holistic philosophy centered on delivering an unparalleled experience tailored to the needs and desires of The Customer. In brief, our material selection process is customer-centric, tailored to each Customer’s vision and aspirations. The unique mission of each aircraft is carefully considered (i.e., private vs. charter vs. government operation, PAX count), ensuring comfort, sophistication, and safety. Textures, colors, and aesthetics are meticulously curated to create a luxurious interior experience, redefining the boundaries of luxury aviation interiors.
4. Can you give us a few of your favorite go-to suppliers? I maintain an extensive and diverse library of suppliers, ensuring a wide range of choices to meet the unique preferences of each Customer. Several factors influence the selection of suppliers, tailored to the specific needs of our clients. Notably, the suppliers in our industry for luxury aviation interiors boast exceptional standards of customer service, reliability, and understanding of our uniquely nuanced programs. While it’s challenging to single out favorites, a few standouts include Tapis for their reliability, reputation in the industry, and excellent service, OmnAvia Interiors for their personalized attention and an array of selections for aviation materials, F/List for their innovative approaches in material and aviation furnishings, and Isovolta for their good communication and diverse capabilities in Tedlar.
Ms. Natalie Rodriguez
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G E N E V A 28-30 MAY 2024
88 metre (289 ft) Wich Design Concept
"Fusion"
Fusion is a visionary project that embodies the essence of connection – between travel, nature, and people, while prioritizing wellbeing through innovative design.
A unique double deck beach house provides an effortless transition between indoor and outdoor spaces.
When you open the door to the Lou Hansell Bespoke studio, the possibilities begin. Our artisans and designers have selected a palette of exquisite materials, with 51 shades of ltalian leathers, five metal and inner trim pairings, and personalization options. Driven by their boundless creativity, they combine their talents and craftsmanship to create pieces you’ll cherish forever.
louhansell.com
Bentley's coachbuilding artisans can bring your perfect car to life. With Mulliner, nothing is impossible.
