Vesta 56
Baglietto and Meyer Davis collaborate on an elegant 56m superyacht project.
New Projects
30 august 2025
Meyer Davis, a New York-based design studio known for its work on Four Seasons and Hyatt hotels as well as numerous private residences worldwide, has made its mark in the yachting world with the Seawolf X catamaran by Rossinavi. For the 56-meter Vesta 56 concept by Baglietto, the studio collaborated with the renowned Enrico Gobbi.
The yacht's sleek proportions were achieved through details such as ultra-thin overhangs on the aft deck, reminiscent of jet wings, combined with seamless glazing running the full length of the yacht. These elements, inspired by aviation, imbue the silhouette with striking dynamism and tension. The concept was built around the idea of creating the illusion of movement, even when the yacht is anchored.
Key features include a large open foredeck reserved exclusively for the owner and an infinity pool integrated into the aft platform—hallmarks of modern superyachts. For the interior, Meyer Davis sought to reinterpret antiquity in a contemporary way. The yacht's name, Vesta, pays homage to the Roman goddess of the hearth. This influence is reflected in the use of white, cream, and beige tones—not in marble, but in tinted wood—along with clean lines and fluted column motifs.
The yacht's sleek proportions were achieved through details such as ultra-thin overhangs on the aft deck, reminiscent of jet wings, combined with seamless glazing running the full length of the yacht. These elements, inspired by aviation, imbue the silhouette with striking dynamism and tension. The concept was built around the idea of creating the illusion of movement, even when the yacht is anchored.
Key features include a large open foredeck reserved exclusively for the owner and an infinity pool integrated into the aft platform—hallmarks of modern superyachts. For the interior, Meyer Davis sought to reinterpret antiquity in a contemporary way. The yacht's name, Vesta, pays homage to the Roman goddess of the hearth. This influence is reflected in the use of white, cream, and beige tones—not in marble, but in tinted wood—along with clean lines and fluted column motifs.
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